EASTERN  ILLINOIS  UNIVERSITY 
Z5781.M12  C001 


MM 


2211  130672273 


UNIVERSITT  OF  IOWA 
EXTENSION  BULLETIN 

BULLETIN  NO.  78  DECEMBER  1,  1921 

library 

ST\rrSJ^Ji  ILLINOIS 

VmC  .CHEf?s  college 

C  n  r\  n !  I-  9  T  ft  m 


h  hi  6,  C  ft  c  ffe 


PLAYS  FOR  HIGH  SCHOOLS 


PUBLISHED  BY  THE  UNIVERSITY 
IOWA  CITY,  IOWA 


Issued  semi-monthly  throughout  the  year.  Entered  at  the  post  office  at  Iowa 
Ciy,  Iowa,  as  second  class  matter.  Acceptance  for  mailing  at  special  rate  of 
postage  provided  for  in  section  1103,  Act  of  October  3,  1917,  authorized  on 
July  3,  1918. 


BOOTH  L  IBP  ARY 
EASTERN  ILLINOIS  UNIVERSITY 
CHARLESTON,  ILLINOIS 


EXTENSION  BULLETINS 


The  Extension  Division  has  issued  the  following  pamphlets,  copies  of  which 
may  be  obtained,  free  of  charge,  upon  application.  Similar  papers  will  be 
published  from  time  to  time,  as  material  is  available.  Numbers  marked  with 
an  asterisk  (*)  are  out  of  print. 

Preliminary  announcement 

*  1.  Street  lighting 

*  2.  Bate  making  for  public  utilities 

*  3.  Engineering  as  a  profession 
4.  Store  lighting 

*  5.  Economy  of  time  in  arithmetic 

*  6.  Vocational  guidance  in  high  schools 

*  7.  Ninth  annual  announcement  of  the  Iowa  High  School  Debating  League 

*  8.  Water  works  statistics  of  thirty-eight  cities  of  Iowa 

*  9.  Work,  wages,  and  schooling  of  eight  hundred  Iowa  boys 
*10.  Principles  of  advertising 

*11.  Hygienic  conditions  in  Iowa  schools 

*12.  Tenth  annual  announcement  of  the  Iowa  High  School  Debating  League 
*13.  Employers  welfare  work  in  Ioioa 
*14.  Iowa  handbook  on  child  welfare 
15.  Present  attainment  in  handwriting  of  school  children  in  Iowa 
*16.  Child  welfare  surveys  and  bibliography 
*17.  Correspondence  courses 
*18.  High  school  plays 
19.  Electric  power  transmission  in  Iowa 
*20.  Culture  and  women’s  clubs 
*21.  Loan  collections  of  lantern  slides 
*22.  Municipal  accounting 

*23.  Eleventh  annual  announcement  of  the  Iowa  High  School  Debating  League 

24.  Arithmetical  skill  of  Iowa  school  children 

25.  Standards  Qf  measuring  junior  high  schools 

26.  The  social  survey 

*27.  The  Iowa  desk  book  of  newspaper  practices 

*28.  Twelfth  annual  announcement  of  the  Iowa  High  School  Debating  League 
*29.  German  submarine  warfare  against  the  United  States,  1915-1917 
*30.  Newspaper  English 
31.  The  Monroe  Doctrine  and  the  war 
*32.  The  conservation  of  sugar 

*33.  The  Fifth  Annual  Eecreational  Camp  for  Girls 
*34.  Iowa  Training  Camp  for  Scoutmasters 
*35.  Conference  for  Eeligious  Workers 

*36.  The  overdraft  evil  as  illustrated  by  conditions  in  Iowa  banks 
37.  Survey  of  the  high  schools  of  Des  Moines 
*38.  Thirteenth  annual  announcement  of  the  Iowa  High  School  Debating  League 

39.  Loan  collections  of  lantern  slides 

40.  Iowa  Patriotic  League  bibliography 

41.  Survey  of  the  school  buildings  of  Muscatine 
*42.  Parent-teacher  associations  in  Iowa 

*43.  Second  grade  spelling  scale 
*44.  High  school  plays 
*45.  Training  Camp  for  Scoutmasters 
*46.  Correspondence  courses 
*47.  Conference  for  Eeligious  Workers 
48.  Iowa  Patriotic  League  bibliography 
*49.  Conference  for  Women 
"50.  Our  centrifugal  society 

(Continued  on  third  page  of  cover) 


THE  STATE 


UNIVERSITY  OF  IOWA 

IOWA  CITY 


Extension  Division  Bulletin  No.  7  8 

O.  E.  KLINGAMAN,  M.  A.,  Editor 


PLAYS  FOR  HIGH  SCHOOLS 

BY 

Edward  C.  Mabie 


PUBLISHED  BY  THE  UNIVERSITY,  IOWA  CITY 


7. 

S78I 
•  MIL 


CONTENTS 

introduction . .  3 

Books  for  the  Teacher-Director .  8 

One  Act  Plays . - .  10 

Long  Plays . . d.s.  18 

Collections  of  Plays  for  the  Library . : . -...-.l.  21 

Publishers  and  Agents . ...c..Ti.......J - - -  35 


Costume  Houses . : . s . -2.Jl-j.ji  36 


Copyright ,  1921,  by  Edward  C.  Mabie 


PLAYS  FOR  HIGH  SCHOOLS 


Throughout  the  country  increasing  attention  is  being  given  to 
school  and  community  plays.  Teachers  and  school  administrators 
are  recognizing  the  educational  values  in  the  dramatic  arts  and 
are  hastening  to  direct  the  work  in  ways  which  will  yield  greatest 
returns.  Whether  the  work  be  conducted  as  an  outside  activity 
or  in  the  classroom,  if  it  be  properly  supervised  it  can  be  made  a 
means  of  developing  personality  and  power  of  expression  through 
speech  and  action.  As  a  method  of  supplementing  the  classroom 
work,  it  does  much  to  make  effective,  vital,  and  interesting,  the 
study  of  dramatic  literature.  It  provides  also  another  channel 
through  which  the  high  school  can  render  a  service  to  its  community 
by  producing  good  plays  not  offered  in  the  commercial  theatre.  It 
affords  a  means  of  building  an  appreciation  for  the  best  and  the 
artistic  things  of  the  theatre  and  provides  a  profitable  recreational 
activity. 

High  school  students  of  to-day  'will  be  an  influential  part  of  the 
amusement-seeking  public  of  to-morrow.  What  an  opportunity  the 
direction  of  high  school  dramatics  gives  to  the  teacher-director  to 
influence  the  kind  of  entertainment  they  will  demand  of  the 
theatre!  It  is  an  opportunity  also  to  counteract,  in  part  at  least, 
the  effect  of  some  phases  of  the  “movies.” 

One  of  the  most  important  problems  connected  with  high  school 
dramatics  is  the  selection  of  plays  for  presentation.  To  aid  in  the 
finding  of  suitable  material,  this  bulletin  has  been  prepared.  Plays 
produced  by  high  schools  should  have  artistic  and  literary  values. 
In  these  busy  times,  when  dozens  of  new  interests  are  being  pressed 
in  upon  the  high  schools,  the  spending  of  time  of  teachers  and 
pupils  upon  plays  of  no  literary  value  is  difficult  to  justify.  Plays 
with  literary  and  artistic  values  can  by  careful  production  be  made 
to  yield  great  satisfaction  and  enjoyment  to  pupils,  teachers,  and 
community.  Such  plays  can  be  found  with  elements  which  will 
appeal  to  various  types  of  audiences.  The  burden  of  proof  is  upon 
the  director  who  tries  to  justify  the  selection  of  a  poor  play  by  the 
statement  that  a  good  play  will  not  “go”  with  the  community. 


3 


4  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


The  school  should  hold  to  its  educational  ideals  in  recreational 
activities  as  well  as  in  courses  of  study.  Most  of  the  plays  in  this 
bulletin  have  been  chosen  because  they  have  values  which  will  make 
profitable  the  time  and  effort  spent  in  their  production.  Some 
teachers  may  feel  it  necessary  to  compromise  with  what  seems  to 
be  the  demand  of  the  audience.  To  assist  such  teachers,  a  number 
of  plays  which  have  no  special  literary  merit  but  which  afford 
wholesome  fun  for  a  community  frolic  are  included.  Such  plays 
have  been  designated  in  this  bulletin  by  statements  “of  no  literary 
value”  or  “of  little  literary  value.” 

High  schools  will  profit  by  the  presentation  of  plays  and  scenes 
from  Shakespeare  more  frequently.  The  commercial  and  pro¬ 
fessional  theatre  in  Iowa  communities  rarely  offers  such  pro¬ 
ductions.  Strolling  players  like  the  Coburns  and  the  Devereux 
serve  too  few  communities  and  too  seldom.  General  knowledge  of 
the  acted  Shakespeare  is  limited  to  a  few  facts  about  great  players. 
The  beauty,  poetry,  the  joyful  laughter  of  the  mass  of  Shakes¬ 
peare’s  dramatic  material  is  almost  never  offered  on  the  stage  in 
our  small  towns  and  cities.  One  is  driven  to  the  conclusion  that 
if  Shakespeare  plays  are  to  be  seen  at  all,  they  must  be  produced 
by  school  and  community  players.  If  we  approach  the  amateur 
production  of  Shakespeare,  emphasizing  not  elaborate  production, 
not  expecting  great  acting,  but  hoping  to  secure  through  the  weeks 
of  rehearsal  and  the  interest,  comment,  and  discussion  stimulated 
in  the  school  and  in  the  community,  a  finer  appreciation  for  the 
comedy  and  fun,  the  beauty  and  the  artistry  of  the  literature, — if 
we  approach  the  presentation  of  a  Shakespeare  play  with  these 
aims,  we  will  find  ample  rewards  for  the  energy  expended.  A 
number  of  Shakespeare  plays  and  some  cuttings  suitable  for  high 
schools  are  suggested  in  this  bulletin. 

One-act  plays  offer  attractive  opportunities  for  high  school 
players  and  are  especially  recommended  for  use  in  small  high 
schools.  Small  high  schools,  handicapped  by  cramped  quarters, 
lack  of  equipment,  insufficient  funds  to  pay  large  royalty  charges 
frequently  demanded,  are  often  forced  to  accept  poor  plays  which 
bear  no  royalty.  The  increase  in  the  number  of  excellent  one-act 
plays  produced  during  the  last  ten  years  has  offered  a  happy  way 
out  of  this  difficulty.  More  than  fifty  good  one-act  plays,  which 
are  now  available  for  high  schools  at  very  small  royalty  or  for  no 


PLAYS  FOR  HIGH  SCHOOLS 


5 


royalty  at  all,  are  listed  in  this  bulletin.  Two  or  three  presented 
in  one  evening  make  an  excellent  program.  Many  of  these  can  be 
presented  with  very  meagre  equipment.  In  the  more  general  use 
of  one-act  plays  lies  the  solution  of  many  of  the  difficulties  of 
dramatic  work  in  the  small  high  schools. 

A  list  of  books  covering  many  phases  of  high  school  dramatics 
is  also  included.  Every  book  listed  would  be  a  useful  addition  to 
the  teacher’s  private  library  and  to  the  library  of  the  school. 
Teachers  will  also  find  suggestive  material  in  the  following 
periodicals : 

The  Drama,  published  monthly  for  the  Drama'  League  of 
America,  59  E.  Van  Buren  St.,  Chicago,  Ill. 

Theatre  Arts  Magazine,  published  quarterly  at  7  E.  42d  St., 
New  York,  N.  Y. 

Theatre  Magazine,  published  monthly  at  6  E.  39th  St.,  New  York 
City. 

The  Quarterly  Journal  of  Speech  Education,  George  Banta  Pub¬ 
lishing  Co.,  Menasha,  Wis. 

'  The  English  Journal,  University  of  Chicago  Press,  Chicago,  Ill. 

THE  HIGH  SCHOOL  AND  COMMUNITY  DRAMA 

High  schools  in  Iowa  have  an  excellent  opportunity  to  render  a 
service  to  their  local  communities.  Citizens  of  the  community 
through  parent-teacher  associations  can  do  much  to  support  and 
improve  the  dramatic  work  in  the  high  schools.  The  school  by 
presenting  good  plays,  plays  which  the  commercial  theatre  does 
not  offer,  can  make  a  contribution  to  the  recreational,  social, 
artistic,  and  educational  activities  of  the  people  of  its  town  or  city. 
Parent-teacher  associations  are  in  an  especially  advantageous  posi¬ 
tion  to  improve  dramatics  in  the  high  schools.  These  associations 
can  cooperate  with  teachers  and  principals  to  provide  suitable 
equipment.  They  can  organize  the  community  and,  perhaps  with 
the  cooperation  of  the  Drama  League  of  America,  assure  the  high 
schools  an  audience  for  good  plays  which  the  high  schools  present. 
With  an  audience  paying  a  small  admission  fee,  there  will  be  funds 
to  purchase  equipment  for  the  further  improvement  of  dramatic 
work.  One  excellent  way  to  provide  money  for  securing  stage 
equipment  is  to  establish  a  “High  School  Little  Theatre  Fund.” 


6  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


From  profits  of  three  or  four  plays  most  high  schools  could  pur¬ 
chase  a  considerable  amount  of  stage  equipment.  Too  frequently 
the  profits  from  plays  are  used  to  pay  expenses  of  athletic  teams 
or  for  odds  and  ends.  In  schools  which  have  inadequate  stages  the 
profits  from  plays  can  be  most  profitably  invested  in  the  “High 
School  Little  Theatre  Fund.”  Such  cooperation  between  school 
and  community  through  the  high  school’s  Little  Theatre  would  be 
mutually  advantageous.  In  bringing  it  about  the  parent-teacher 
associations  can  do  very  effective  work. 

Several  organizations  will  be  glad  to  aid  members  of  parent- 
teacher  associations  to  organize  community  and  school  dramatics. 
The  Extension  Division  and  the  Department  of  Speech  of  the  Uni¬ 
versity  offer  assistance  in  the  selection  of  plays,  the  building  and 
equipment  of  stages,  and  the  organization  of  the  activity.  The 
Drama  League  of  America,  with  its  headquarters  at  59  East  Van 
Buren  Street,  Chicago,  Illinois,  will  be  glad  to  cooperate  in  or¬ 
ganizing  the  citizens  of  the  community. 

December  28  of  this  year  marks  the  seventy-fifth  anniversary  of 
the  admission  of  Iowa  to  statehood,  for  Iowa  became  a  state 
December  28,  1846.  The  occasion  offers  an  unusual  opportunity 
to  teach  lessons  of  citizenship  and  patriotism  in  the  schools;  to 
bring  schools  and  community  together  to  celebrate  the  event  by 
community  drama  and  pageantry.  Iowa’s  history  has  been  marked 
by  great  dramatic  episodes,  and  characterized  by  traditions  and 
ideals,  excellent  raw  material  for  historic  pageants.  Through  the 
State  Historical  Society  of  Iowa  this  material  is  easily  available. 
Schools  and  communities  are  urged  to  plan  community  celebrations 
to  be  given  next  spring.  The  Extension  Division  will  be  glad  to 
cooperate  by  furnishing  information  about  pageantry.  Letters 
requesting  information  on  any  of  these  matters  may  be  addressed 
to  the  Extension  Division,  University  of  Iowa,  Iowa  City,  Iowa. 

ROYALTIES 

In  some  instances  royalty  charges  on  the  plays  listed  have  been 
indicated  in  this  bulletin.  In  all  cases  teachers  and  others  who 
desire  to  produce  the  plays  listed  should  ascertain  facts  about 
royalty  charges  by  writing  to  the  publisher,  author,  or  agent  in¬ 
dicated.  Addresses  of  publishers  and  agents  are  listed  on  the  last 
page  of  this  bulletin. 


PLAYS  FOR  HIGH  SCHOOLS 


7 


Federal  statutes  which  apply  to  copyrighted  dramatic  material 
are  as  follows: 

Section  4966 — Any  person  publicly  performing  or  representing  any  dramatic 
or  musical  composition  for  which  copyright  has  been  obtained,  without  the 
consent  of  the  proprietor  of  said  dramatic  or  musical  composition,  or  his  heirs 
and  assigns,  shall  be  liable  for  damages  therefor,  such  damages  in  all  cases 
to  be  assessed  at  such  sum,  not  less  than  one  hundred  dollars  for  the  first,  and 
fifty  dollars  for  every  subsequent  performance,  as  to  the  court  shall  appear 
to  be  just.  If  the  unlawful  performance  and  representation  be  wilful  and 
for  profit,  such  person  or  persons  shall  be  guilty  of  a  misdemeanor,  and  upon 
conviction  be  imprisoned  for  a  period  not  exceeding  one  year. — U.  S.  Revised 
Statutes,  Title  60,  Chap.  3. 

Section  28 — That  any  person  who  wilfully  or  for  profit  shall  infringe  any 
copyright  secured  by  this  act,  or  who  shall  knowingly  and  wilfullly  aid  or  abet 
such  infringement,  shall  be  deemed  guilty  of  a  misdemeanor,  and  upon  con¬ 
viction  shall  be  punished  by  imprisonment  for  not  exceeding  one  year,  or  by 
a  fine  of  not  less  than  one  hundred  nor  more  than  one  thousand  dollars,  or 
both,  in  the  discretion  of  the  court. — Act  of  March  4,  1909. 

PLAY  LOANING  SERVICE 

This  bulletin  aims  to  present  sufficient  information  about  each 
play  to  enable  the  principal,  teacher,  or  director  to  choose  with 
some  degree  of  certainty  the  plays  best  suited  to  his  particular 
school.  In  many  cases  it  will  be  found  desirable  to  secure  copies 
of  the  play  for  examination.  Copies  can  be  secured  direct  from 
the  publishers  at  prices  ranging  from  twenty-five  cents  to  a  dollar 
each.  The  library  of  the  University  has  copies  of  the  plays,  listed, 
which  will  be  loaned  for  short  periods.  Any  superintendent  or 
principal  of  an  Iowa  high  school  may  secure,  for  examination,  from 
one  to  three  plays  at  a  time,  thus  saving  the  expense  of  purchasing 
those  which  may  prove  unsuitable  and  economizing  time.  Such 
plays  may  be  secured  more  quickly  from  Iowa  City  than  from  New 
York  or  Chicago.  When  writing  for  plays ,  a  list  of  ten  titles ,  in 
the  order  of  preference ,  should  he  submitted.  If  some  of  the  copies 
are  out  of  the  library  at  the  time,  at  least  two  or  three  plays  will 
be  available. 

It  is  recommended  that  the  work  of  selecting  the  school  plays  be 
begun  early  in  the  fall.  This  will  allow  plenty  of  time  for  reading, 
and  selection  may  be  made  without  the  usual  rush,  which  occurs 
when  the  selection  is  delayed  until  a  few  weeks  before  the  per¬ 
formance. 

Superintendents  or  principals  ordering  plays  will  be  held 
responsible  for  postage  both  ways  and  for  the  return  of  the  bor¬ 
rowed  plays  in  undamaged  condition  within  seven  days  after  their 


8  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


receipt.  Requests  for  plays  should  he  addressed  to  the  Librarian , 
University  of  Iowa,  Iowa  City. 

Superintendents  will  find  that  by  adding  to  the  school  library  a 
few  of  the  collections  of  plays  listed  herein,  many  copies  of  actable 
plays,  especially  of  the  one-act  plays,  will  be  secured.  This  will 
make  a  body  of  good  material  ready  at  hand  for  use  on  short  notice. 
Several  of  these  volumes  which  contain  a  large  number  of  plays 
can  be  secured  at  small  cost. 

BOOKS  FOR  THE  TEACHER-DIRECTOR 

Clark,  Barrett  H.,  How  to  Produce  Amateur  Plays.  Little,  1917. 

A  simple  and  practical  small  manual  for  those  who  have  little  or  no  knowl¬ 
edge  of  producing  plays.  Each  question  and  problem  is  treated  in  its  natural 
order,  as  indicated  by  the  chapter  headings;  choosing  the  play,  organization, 
choosing  the  cast,  rehearsing,  the  stage,  lighting,  scenery  and  costumes,  list 
of  plays,  copyright,  royalty,  and  make-up.  This  book  will  help  especially  the 
teacher-director  of  the  very  small  high  school  who  does  not  have  access  to  the 
entire  group  of  books  here  listed. 

Curtis,  Elnora  Whitman,  The  Dramatic  Instinct  in  Education.  Houghton, 

1914. 

A  good  discussion  of  the  larger  educational  values  of  dramatic  interpreta¬ 
tion  and  presentation.  It  contains  much  thought-provoking  material  relative 
to  the  theatre-going  of  children  and  to  dramatic  work  in  schools  and  colleges, 
with  chapters  on  play,  dancing,  story  telling,  moving  pictures,  the  puppet  play, 
and  pageantry.  The  author  believes  that  the  aim  of  dramatic  work  in  the 
schools  should  be  to  develop  the  individual  and  that  the  production  itself 
is  secondary.  The  book  presents  a  sound  point  of  view  for  those  interested  in 
educational  dramatic  productions.  It  contains  an  introduction  by  Dr.  G. 
Stanley  Hall. 

Johnson,  Gertrude  E.,  Choosing  a  Play  (Revised  edition.)  Century,  1920. 

This  book  furnishes  a  classified  list  of  plays  which  is  of  great  assistance  in 
the  finding  of  material  for  amateur  production.  To  the  revised  edition  have 
been  added  chapters  which  contain  many  helpful  suggestions  regarding  the 
problems  of  play  presentation. 

Mackay,  Constance  D'Arcy,  Costumes  and  Scenery  for  Amateurs .  Holt, 

1915. 

To  present  methods  of  making  a  series  of  costumes  and  scene  sets  for 
amateur  plays  and  pageants  is  the  aim  of  this  book.  Plans  and  designs  cover 
“the  range  of  the  historical  play,  the  folk  play,  the  fairy  play,  and  the  play 
of  fantasy.' 9  For  the  high  school  teacher  and  director  whose  hall  or  stage 
is  small  and  inadequately  equipped,  the  book  has  many  suggestions  which  can 
be  realized  with  the  aid  of  energetic  boys  and  girls.  The  book  presents,  with 
the  scenes  and  costumes,  full  descriptions  of  material,  construction,  and  color, 
and  each  costume  and  scene  is  made  to  serve  as  many  uses  as  possible.  Butterick 
patterns  may  be  obtained  for  many  of  the  costumes.  The  scenes  can  readily 
be  adapted  to  school  stages.  Methods  of  costuming  and  of  staging  suggested 
are  practical,  simple,  inexpensive,  and  appropriate. 

Mackay,  Constance  D'Arcy,  The  Little  Theatre  in  the  United  States.  Holt, 

1917. 

This  book  is  a  survey  of  the  so-called  “Little  Theatre  Movement"  in  the 


PLAYS  FOR  HIGH  SCHOOLS 


9 


United  States.  It  is  an  inspiring  account  of  things  accomplished  by  amateur 
and  community  players.  The  book  contains  descriptions  of  about  fifty  Little 
Theatres  and  notes  on  their  achievements,  policies,  repertoires,  methods  of 
production,  and  management.  It  is  valuable  to  the  teacher-director  especially 
for  its  accounts  of  ways  in  which  problems  of  staging  and  costuming  have 
been  solved,  inexpensively  and  with  artistic  results,  under  a  wide  variety  of 
restricting  conditions.  It  is  helpful  also  because  it  contains  notes  on  one-act 
plays  and  programs  which  have  been  produced  successfully  by  amateurs. 

Mitchell,  Roy,  Shakespeare  for  Community  Flayers.  Dutton,  1919. 

This  is  a  book  written  for  the  teacher-director  on  the  stage  presentation  of 
Shakespeare.  It  is  written  for  teachers  who  are  “  using  Shakespeare  plays 
for  the  twofold  purpose  of  developing  powers  of  expression  in  their  pupils, 
and  of  inculcating  a  real  love  for  our  finest  dramatic  literature.  ’  ’  No  previous 
experience  on  the  part  of  the  director  has  been  taken  for  granted ;  consequently 
the  descriptions  and  suggestions  are  explicit  and  detailed.  However,  the  book 
is  not  too  detailed  and  covers  the  topics  of  choosing  the  play  or  scenes  from 
the  play,  organization,  rehearsal,  stage-setting,  furniture  and  accessories, 
costumes,  lighting,  make-up,  and  music  in  such  a  way  as  to  make  it  an  ex¬ 
cellent  handbook  on  dramatic  presentation.  The  point  of  view  of  the  author 
is  indicated  by  the  following  statements  from  the  introductory  chapter : 
“When  we  come  to  the  Shakespeare  plays,  the  cornerstone  of  English  liter¬ 
ature,  the  absurdities  of  eye-reading  multiply.  Here  is  a  series  of  memoranda 
of  lines  to  be  spoken  by  certain  actors  who  belonged  to  Shakespeare's  com¬ 
pany.  The  speaker  is  indicated  in  each  case,  and  from  time  to  time  there  is 
a  reminder  to  the  stage  manager  to  have  trumpets  sounded  or  cannon  dis¬ 
charged  behind  the  scenes.  There  is  no  direct  description  of  the  appearance 
of  the  persons,  their  age,  their  dress,  their  idiosyncracies,  the  gesture  which 
accompanies  the  speeches,  the  position  of  the  persons  on  stage,  the  mood  of 
a  speech,  or  the  mood  in  which  it  is  received.  A  character  may  be  calm  or 
may  be  sobbing  convulsively  without  any  direct  indication  in  the  text.  All 
of  this  by-play,  without  which  the  spoken  words  are  mere  fragments,  are  gone 
with  Burbage  and  Kemp  and  Hemyng  and  Condell,  and  the  others  who  first 
made  the  plays  live.  And  still  we  persist  in  putting  a  Shakespeare  play  be¬ 
fore  a  child  as  if  it  were  a  novel  and  expect  him  to  appreciate  it.  Almost 
as  well  give  him  a  conductor’s  score  of  Beethoven’s  Ninth  Symphony  and  ex¬ 
pect  him  to  realize  the  splendours  of  the  composition. 

“Who  does  not  remember  the  dismal  periods  in  his  own  school  days  when 
a  class  of  apathetic  pupils  laboured  with  comparisons  of  the  characters  of 
Antonio  and  Bassanio,  or  heard  without  emotion  or  even  intellectual  interest 
what  a  Jewish  gabardine  was?  At  no  single  point  did  that  printed  page  seem 
to  touch  life,  even  for  those  who  had  a  sympathy  for  letters.  What,  there¬ 
fore,  must  it  have  been  to  the  boys  and  girls  to  whom  all  literature  was  a 
vexation?  The  present  situation  as  the  commercial  theatre  would  indicate  is 
that  those  boys  and  girls  took  refuge  in  the  word  ‘high-brow’  and  will  hate 
Shakespeare  all  their  lives. 

“The  task  before  the  teacher  is  not  one  of  dissecting  Shakespeare,  but  of 
completing  him.  The  text  should  be  accepted  unreservedly  as  material  for 
dramatic  reconstruction.  A  few  years  ago  this  was  theory;  to-day  it  is  a 
fact  demonstrated  by  scores  of  experiments,  and  in  many  schools  it  has  be¬ 
come  the  fundamental  of  instruction  in  dramatic  literature.” 

For  the  high  school  teacher  of  English,  this  book  on  the  use  of  the  method 
of  dramatic  interpretation  and  presentation  in  the  teaching  of  Shakespeare 
has  much  that  is  unusually  helpful. 

Pichel,  Irving,  On  Building  a  Theatre.  Theatre  Arts,  1921. 

This  is  an  excellent,  simple  guide  for  clubs,  community  groups,  and  schools 
planning  to  build  small  theatres  or  to  remodel  auditoriums.  The  book  dis¬ 
cusses  such  subjects  as  the  relative  size  and  arrangement  of  stage,  dressing 


10  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


rooms  and  workshops,  the  construction  and  seating  requirements  of  the 
auditorium,  the  lighting  equipment,  and  new  methods  and  devices  in  use  here 
and  abroad. 

Simons,  Sarah  E.  and  Orr,  Clemm  Irwin,  Dramatization.  Selections  from 
English  classics  adapted  in  dramatic  form.  Scott,  1913. 

This  book  aims  ‘  ‘  to  give  practical  suggestions  for  the  dramatization  of  high 
school  classics.  The  teaching  experience  of  the  authors  leads  them  to  believe 
that  dramatization  of  the  literature  studied  is  one  of  the  most  successful  of 
all  devices  for  vitalizing  the  work  of  the  English  class.  The  book  is  presented 
to  high  school  teachers  with  the  hope  that  it  may  point  the  way  to  making 
the  regular,  not  the  holiday  dramatization  of  literature  an  effective  instrument 
in  the  teaching  of  English.  ’  ’ 

Selections  treated  in  the  book  are  familiar  to  teachers  in  the  secondary 
schools.  The  dramatic  illustrations  “are  type  studies  and  are  intended  as  a 
working  basis  for  teachers  and  pupils  in  developing  similar  exercises.  To 
facilitate  their  use  in  the  classroom,  they  are  grouped,  according  to  the  usual 
high  school  English  course,  in  four  parts,  one  for  each  year  respectively,  and 
are  published  independently  in  pamphlet  form  expressly  for  the  convenience 
of  pupils.' ’ 

The  book  includes  a  bibliography  on  dramatization  and  the  following 
specimen  dramatizations:  first  year, — Treasure  Island,  Ivanhoe,  Bobin  Hood 
Ballads,  Feathertop,  episodes  and  tableau  from  the  Odyssey ;  second  year, — 
Iliad,  Last  of  the  Mohicans,  A  Tale  of  Two  Cities,  David  Swan,  Kidnapped, 
The  Adventure  of  My  Aunt;  third  year, — Sohrab  and  Bustum,  Silas  Marner, 
Tales  of  a  Wayside  Inn,  The  Purloined  Letter,  A  Spring  Fantasy;  fourth 
year, — Vicar  of  WaTcefield,  Prologue  to  the  Canterbury  Tales,  Idylls  of  the 
King,  Henry  Esmond,  Comus. 

Stratton,  Carence,  Producing  in  Little  Theatres.  Holt,  1921. 

This  is  a  practical  and  helpful  book,  which  reflects  the  many  successful 
phases  of  amateur  and  community  dramatic  activity.  It  contains  chapters  on 
organizing  an  amateur  group,  choosing  the  play,  specimen  programs,  rehearsing, 
artistic  amateur  settings,  creating  the  stage  picture,  costumes,  make-up,  light¬ 
ing,  experimenting,  and  educational  dramatics.  It  contains  about  seventy 
illustrations  of  amateur  productions,  diagrams,  sketches  for  stage  sets,  and 
an  appendix  of  helpful  notes  on  one  hundred  one-act  plays  and  one  hundred 
long  plays.  It  is  written  for  directors  of  amateur  dramatics,  and  aims  to 
help  them  in  developing  well-balanced  performances. 

Taylor,  Emerson,  Practical  Stage  Direction  for  Amateurs.  Dutton,  1916. 

This  is  another  concise  manual  which  covers  the  problems  which  arise  in  the 
production  of  an  amateur  play  from  the  time  the  organization  decides  to  give 
a  play  until  the  close  of  the  performance. 

Young,  James,  “ Making  Up.”  Witmark, 

This  is  a  good,  practical  manual  on  making  up.  It  is  well  illustrated  by 
diagrams  and  photographs  and  treats  the  making  up  of  many  character  types 
and  nationalities.  The  inexperienced  director  will  find  the  methods  here 
described  productive  of  satisfactory  results  provided  a  little  time  is  devoted 
to  careful  practice. 

ONE  ACT  PLAYS 

Allison’s  Lad,  by  Beulah  Marie  Dix.  In  “Allison’s  Lad  and  Other  Martial 
Interludes.”  Holt.  Also  in  Margaret  C.  Mayorga’s  “Representative 
One-Act  Plays  by  American  Authors.”  Little. 

This  play  is  a  dramatic  episode  in  the  village  of  Faringford,  England,  at 
the  close  of  the  second  civil  war,  autumn,  1648.  Its  story  is  the  proving  of 
the  courage  of  a  gallant  young  gentleman  volunteer.  The  players  are  six  men : 
Col.  Sir  William  Strickland,  Captain  George  Bowyer,  and  Lieutenant  Robert 


PLAYS  FOR  HIGH  SCHOOLS 


11 


Goring  of  the  Cavalier  Party;  Favis  Hopton  and  Tom  Winwood,  Gentlemen 
Volunteers,  and  Col.  John  Drummond  of  the  Roundhead  party,  all  in  costumes 
of  the  period.  The  scene  is  laid  at  midnight  in  an  upper  chamber  of  the 
village  inn.  Permission  for  performance  must  be  secured  from  the  author, 
care  of  Holt. 

America  Passes  By,  by  Kenneth  Andrews.  In  “  Plays  of  The  Harvard  Dra¬ 
matic  Club.  ”  Brentano,  or  Baker. 

This  is  an  interesting  love  comedy  for  two  men  and  two  women,  a  young 
man  and  his  fiancee,  a  young  husband  and  his  wife.  The  setting  is  the  living 
room  of  a  small  fiat.  Permission  for  performance  must  be  secured  from  47 
Workshop. 

As  Good  as  Gold,  by  Laurence  Housman.  French. 

A  quaint  morality  play  in  which  St.  Francis  converts  three  robbers  and  a 
miser  from  their  love  of  gold.  The  players  are  seven  men:  St.  Francis  of 
Assisi,  Brother  Juniper,  a  boy,  three  robbers  and  a  miser.  The  setting  can 
be  simply  arranged  to  represent  cross-roads  near  a  monastery.  Royalty,  $5 
to  French. 

Behind  a  Watteau  Picture,  by  Robert  Emmons  Rogers.  Baker. 

This  is  a  delightful  Columbine-Pierrot  fantasy  in  verse.  The  players  are 
twelve  men  and  two  women:  a  museum  guide,  a  Watteau  Marquise,  a  Watteau 
Marquis,  a  W’atteau  poet,  Columbine,  the  Melancholy  Pierrot,  Harlequin,  a  fat 
Pierrot,  four  Chinese  lantern-bearers,  two  negro  grave  diggers,  and  two 
lutanists.  The  play  is  recommended  to  directors  wTho  have  fairly  adequate 
stages  and  who  wish  to  undertake  a  play  which  offers  opportunity  for  artistic 
costuming  and  setting.  The  set  is  in  a  great  gilt  picture  frame  as  if  it  were 
a  painting.  Scenery  and  costumes  need  not  be  expensive  but  should  approxi¬ 
mate  in  color  and  shade  the  tones  of  a  Watteau  picture.  Characters  should 
wear  the  costumes  of  Watteau’s  pictures.  Photographs  and  notes  on  methods 
of  production  are  included  in  the  book  of  the  play.  Royalty,  $10  payable  to 
Baker. 

The  Bogie  Men,  by  Lady  Augusta  Gregory.  In  “New  Comedies.”  Putnam. 

A  good  comedy  for  two  boys:  Taig  O’Harragha  and  Darby  Melody,  both 
chimney  sweeps  and  both  Irish.  The  scene  is  the  interior  of  shed  very  easy 
to  set.  Royalty,  $10  to  French. 

The  Brink  of  Silence,  by  Esther  E.  Galbraith.  In  “Representative  One- Act 
Plays  by  American  Authors.”  Little. 

This  play  is  a  new  and  original  development  of  an  Enoch  Arden  situation 
in  the  form  of  a  play  for  4  men:  Cole,  Sir  Gilbert  Darton  of  an  Antarctic 
expedition  which  never  came  back ;  Macready,  his  companion ;  Darton,  his  son ; 
and  Johnson,  a  member  of  young  Darton ’s  expedition.  The  scene  is  the  crude 
interior  of  a  house  on  a  rocky  island  far  down  in  the  Antarctic.  Permission 
to  perform  must  be  secured  from  Miss  Esther  Galbraith,  3425  Fourteenth  St., 
N.  E.  Washington,  D.  C. 

The  Dear  Departed,  by  Stanley  Houghton.  French. 

A  comedy  in  which  interest  centers  about  the  squabble  over  the  division  of 
an  old  man’s  possessions  by  his  daughters  and  sons-in-law.  The  “dear  de¬ 
parted,”  who  “must  have  gone  round  to  the  Ring-o-Bells, ”  recovers  from  his 
nap  and  interrupts  the  discussions  in  an  embarassing  manner.  The  players 
are  three  men  and  three  women:  Abel  Merryweather,  an  old  widower,  his  two 
daughters,  their  husbands,  and  a  granddaughter.  The  setting  is  a  living- 
room.  Royalty,  $5  to  French. 

Embers,  by  George  Middleton.  Holt. 

This  is  an  emotional  story  of  the  renewal  of  a  jilted  young  man’s  ambition 


12  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


through  the  influence  and  example  of  the  men  who  cherished  an  ideal  love  for 
the  young  man's  mother.  The  characters  are:  Jasper  Harrington,  Mrs.  Ruth 
Harrington,  his  mother,  and  the  Hon.  Mason  King,  a  diplomat.  The  setting 
is  the  living-room  of  a  modern  home. 

A  Fan  and  Two  Candlesticks ,  by  Mary  Macmillan.  In  “ Short  Plays." 
Stewart. 

This  is  a  charming  story  of  the  betrothal  of  a  coquette  at  an  old-fashioned 
party  on  St.  Valentine's  night.  The  players  are:  Ralph  and  Hugh,  two 
suitors,  and  Nancy,  a  pretty  girl  of  eighteen.  The  scene  is  a  room  with 
curtained  entrance.  The  play  offers  unusual  opportunities  for  attractive  setting 
with  Georgian  mahogany  furniture  and  costumes  of  the  eighteenth  century, 
but  it  can  be  changed  to  meet  exigencies.  No  royalty. 

The  Florist  Shop,  by  Winifred  Hawkbridge.  In  “Plays  of  the  Harvard  Dra¬ 
matic  Club."  Brentano. 

This  is  a  romantic  comedy  about  a  too  sympathetic  and  gossipy  florist’s 
bookkeeper.  The  players  are  three  men  and  two  women:  Maude,  the  book¬ 
keeper,  young  and  fairly  good-looking;  Henry,  an  ordinary  tough  office-boy, 
who  gives  the  impression  of  being  in  long  trousers  for  the  first  time;  Slovsky, 
the  middle-aged  Jewish  proprietor  of  the  shop;  Miss  Wells,  a  timid,  talkative 
spinster;  and  Mr.  Jackson,  baldish,  pale,  with  sandy  mustache  and  solemn, 
pompous  manner.  The  scene  is  the  interior  of  the  florist's  shop,  with  a  dis¬ 
play  of  flowers.  Permission  for  performance  must  be  secured  from  American 
Play  Co. 

Fourteen,  by  Alice  Gerstenberg.  In  “The  Drama"  for  February,  1920. 
Swartout. 

This  is  a  delightful  modern  comedy  about  a  dinner  for  fourteen.  The 
players  are:  Mrs.  Horace  Pringle,  a  woman  of  fashion;  Elaine,  her  debutante 
daughter;  Dunham,  the  butler.  The  scene  is  the  dining  room  of  a  New  York 
residence. 

French  without  a  Master,  by  Tristan  Bernard.  Barrett  H.  Clark's  translation 
of  “L  'Anglais  tel  qu'on  le  parle."  French. 

This  is  a  farce  about  an  interpreter  who  pretends  to  speak  French.  The 
players  are  five  men  and  two  women:  Percy,  the  interpreter;  Jean- Jacques 
Chanoine-Malherbe,  Seraphine’s  father;  Gerald  Forsythe,  a  young  English¬ 
man;  Mile.  Seraphine  Chanoine-Malherbe;  a  police  officer,  a  hotel  keeper,  and 
the  cashier,  who  is  an  Englishwoman  about  twenty-five.  The  scene  is  the  office 
of  a  small  London  hotel.  No  royalty. 

The  Glittenng  Gate,  by  Lord  Dunsany.  In  “Five  Plays."  Kennerley. 

Jim  and  Bill,  lately  burglars  and  both  dead,  discovered  in  a  weird  and 
lonely  place  just  outside  the  gate  of  Heaven,  struggle  in  vain  to  free  them¬ 
selves  from  the  never  ending  void.  Requires  two  good  players  and  offers 
opportunity  for  simple  yet  artistic  setting  and  lighting.  Royalty,  $10  pay¬ 
able  to  Swartout. 

The  Golden  Doom,  by  Lord  Dunsany.  In  “Five  Plays."  Kennerley. 

This  is  a  charming  symbolistic  play.  The  characters,  ten  or  more  in  brilliant 
costumes,  are :  the  king,  his  chamberlain,  three  prophets,  two  sentries,  a 
stranger,  spies,  attendants,  and  the  boy  and  the  girl.  The  scene  is  outside 
the  king's  great  door  in  Zericon  before  the  fall  of  Babylon.  The  play  offers 
good  opportunity  for  high  schools  interested  in  undertaking  work  in  artistic 
and  colorful  production  on  a  small  scale.  Royalty,  $15  payable  to  Swartout. 

A  Good  Woman,  by  Arnold  Bennett.  In  “Polite  Farces."  Doran. 

This  is  a  lively  burlesque  on  the  love  triangle.  The  players  are  two  men 
and  a  woman:  James  Brett,  a  clerk  in  the  war  office,  age  33;  Gerald  O'Mara, 


PLAYS  FOR  HIGH  SCHOOLS 


13 


a  civil  engineer,  age  24;  and  Rosamund  Fife,  a  spinster  and  a  lecturer  on 
cookery,  age  28.  The  scene  is  a  plainly  furnished  drawing  room  in  Rosa¬ 
mund’s  flat.  Arnold  Bennett  himself  says,  ‘‘The  only  apparatus  necessary 
to  the  presentation  of  the  pieces  is  ordinary  costume,  ordinary  furniture,  and 
a  single  door  for  entrance  and  exit.” 

The  Green  Coat,  by  Alfred  De  Musset  and  Emile  Augier.  French. 

This  is  a  lively  comic  episode  in  the  lives  of  two  young  artists  in  Paris. 
The  players  are:  Raoul  and  Henri,  the  artists;  Marguerite,  a  little  seamstress, 
their  neighbor;  Munius,  an  old  dishonest  clothes  dealer,  who  is  beaten  at  his 
own  tricks.  The  set  is  a  studio.  The  costumes  should  be  mid-nineteenth 
century  French,  but  an  approximation  to  this  is  English  mid-Victorian.  No 
royalty  required  of  amateurs. 

The  Groove,  by  George  Middleton.  In  “Possession  and  Other  Plays.”  Holt. 

This  is  a  charming  story  of  an  older  sister’s  sacrifice  for  a  younger  sister. 
The  players  are  two  girls,  and  the  setting,  a  girl ’s  cozy  room,  can  be  very 
easily  arranged. 

Happiness,  by  J.  Hartley  Manners.  Dodd. 

This  is  a  charming  play,  the  theme  of  which  is  in  Jenny’s  line,  “Do  ye 
know  what  I  think  happiness  is  really?  Lookin’  forward.”  The  players  are 
two  men  and  two  women:  Shabby  Jenny;  Mrs.  Chrystal-Pole,  a  charming  and 
rich  young  widow  of  twenty-seven ;  her  father,  Fritz  Scowcraf t,  a  burly,  genial, 
hearty  man  of  fifty- five;  and  Philip  Candos,  a  scrupulously  dressed  man  of 
thirty-five,  bored  in  manner  and  disillusioned  in  outlook.  The  set  is  a  com¬ 
fortably  furnished  room  of  a  modern  apartment  house.  Royalty  for  one-act 
play,  $10  payable  to  French.  Available  as  three-act  play,  royalty,  $25. 

Her  Tongue,  by  Henry  Arthur  Jones.  In  “The  Theatre  of  Ideas.”  Doran. 

This  is  a  lively  comedy  about  a  talkative  society  girl.  The  players  are  two 
men  and  two  women:  Miss  Patty  Hanslope,  about  thirty;  Mrs.  Minnie  Bracy, 
her  cousin;  Walter  Scobell,  a  rich  Argentine  planter;  Fred  Bracy,  Minnie’s 
husband,  and  a  waiter.  The  scene  is  a  private  sitting  room  furnished  in  an 
old-fashioned,  rather  dingy,  comfortable  way.  Royalty,  $10  payable  to  French. 

The  Hour  Glass,  by  William  Butler  Yeats.  In  “The  Hour  Glass.”  Macmillan. 

A  morality  play  of  literary  value,  about  a  wise  man’s  salvation.  The  play¬ 
ers  are  four  men,  two  women,  and  two  children:  a  wise  man  who  teaches 
people  to  disbelieve,  some  pupils  who  have  learned  to  disbelieve,  the  wise  man’s 
wife,  his  two  children,  an  angel,  and  a  fool  who  dreams  but  believes  in  the 
life  hereafter.  The  setting  is  simple,  there  is  opportunity  for  use  of  a  few 
simple  costumes,  and  only  one  bit  of  unusual  property  is  required,  an  hour¬ 
glass  to  mark  the  wise  man’s  last  hour.  Royalty,  $10  payable  to  French. 

Hyacinth  Halvey,  by  Lady  Augusta  Gregory.  In  ‘  ‘  Seven  Short  Plays.  ’  ’  Luce. 

An  unusually  good  comedy  about  one  Hyacinth  Halvey,  who  labors  in  vain 
to  rid  himself  of  his  good  reputation  among  the  Irish  villagers.  The  players 
are  four  men  and  two  women,  the  others  being  James  Quirke,  a  butcher,  Fardy 
Farrell,  a  telegraph  boy,  Sergeant  Carden,  Mrs.  Delane,  the  postmistress,  and 
Miss  Joyce,  the  priest’s  housekeeper.  The  scene,  easily  set,  is  outside  the 
post-office  in  the  little  town  of  Cloon.  Royalty,  $5  payable  to  French. 

Indian  Summer,  by  Meilhac  and  Ludovic  Halevy.  Barrett  H.  Clark’s  trans¬ 
lation  of  “L’Ete  de  la  Saint-Martin.”  French. 

This  is  an  interesting  little  play  in  which  Adrienne,  a  pretty  young  woman 
of  twenty-three,  and  Noel,  an  attractive  young  man  to  whom  she  has  been 
married  secretly,  win  the  approval  of  Noel’s  uncle  Briqueville,  a  gray-haired 
man  of  sixty.  One  other  player  is  required,  Madam  Lebreton,  an  elderly  house¬ 
keeper.  The  set  is  the  parlor  in  Briqueville ’s  home  in  a  small  town  in  Tour- 


14  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


aine,  France.  The  costumes  should  be  mid-nineteenth  century  French.  No 
royalty. 

In  the  Zone ,  by  Eugene  G.  O'Neill.  In  “The  Moon  of  the  Caribbees."  Boni. 
Also  in  Margaret  Mayorga's  “Representative  One-Act  Plays  by 
American  Authors. ' '  Little. 

This  play  is  a  dramatic  episode  in  the  lives  of  merchant  sailors  on  a  British 
tramp  steamer  during  the  World  War  in  the  spring  of  1915.  The  players, 
eight  men,  are:  Smitty,  the  “Duke,"  his  face  is  refined  and  handsome  in  a 
weak  way;  Davis,  middle-aged;  Olson,  middle-aged  and  a  short  stocky  Swede; 
Scotty,  just  past  twenty,  and  thin  and  wiry;  Ivan,  in  the  thirties,  hulking  and 
awkward;  Yank,  twenty-eight,  rather  good  looking  in  a  tough  sort  of  way; 
Driscoll,  thirty,  a  powerfully  built  Irishman  with  a  battered,  good-natured 
face;  and  Corky,  fifty,  a  wizened  runt  of  a  man.  The  scene,  which  can  be 
arranged  with  a  little  ingenuity,  is  the  seamen's  forecastle.  Permission  for 
performance  must  be  secured  from  Mr.  Eugene  O'Neill,  Provincetown,  Massa¬ 
chusetts.  Royalty,  $15  payable  to  the  author. 

I'm  Going ,  by  Tristan  Bernard.  Barrett  H.  Clark's  translation  of  “Je  vais 
m  'en  aller.  ’ '  French. 

This  is  an  amusing  French  comedy  of  a  young  married  couple's  quarrel  and 
reconciliation.  The  players  are  Henri  and  Jeanne,  his  wife.  The  scene  is  a 
small  room  in  their  apartment.  No  royalty. 

Joint  Owners  in  Spain,  by  Alice  Brown.  Baker. 

A  comedy  in  which  two  quarrelsome  inmates  of  an  old  ladies'  home  settle 
their  troubles  in  an  amusing  manner.  The  play  offers  good  character  parts 
for  four  girls  in  the  director  and  three  inmates  of  the  home.  The  setting  is 
a  comfortable  room.  Royalty,  $5  payable  to  Baker. 

The  Land  of  Heart’s  Desire,  by  William  Butler  Yeats.  Baker. 

A  poetic  Irish  fairy  love  play  of  literary  quality.  The  players  are  three 
men  and  three  women:  Maurten  Bruin,  a  peasant,  Shawn  Bruin,  his  son; 
Bridget  Bruin,  Maurteen's  wife;  Marie  Bruin,  their  daughter-in-law;  Father 
Hart,  a  priest;  and  a  child  of  the  fairies.  The  setting,  the  kitchen  of  an 
Irish  peasant  cottage,  can  be  adequately  suggested  by  simple  means  such  as 
those  discussed  in  Miss  Constance  Mackay’s  “Costumes  and  Scenery  for 
Amateurs. ' '  No  royalty. 

The  Lost  Silk  Hat,  by  Lord  Dunsany.  In  “Five  Plays."  Little. 

This  is  a  clever  comedy  about  a  reconciliation  of  a  lover  and  his  lady, 
brought  about  because  of  a  lost  silk  hat.  The  players  are  five  men :  the  caller, 
a  quarreling  lover  who  forgot  his  hat ;  the  laborer  who  is  suspicious ;  the  clerk 
who  won't  be  accommodating;  the  poet  who  loves  romance;  and  the  policeman 
who  arrives  in  time  to  hear  the  duet  which  announces  the  reconciliation  of  the 
lover  with  his  lady  who  is  heard  but  not  seen  on  the  stage.  The  scene  is 
a  door-step,  an  exterior  very  easy  to  set.  Royalty,  $10  payable  to  Swartout. 

The  Maker  of  Dreams,  by  Oliphant  Down.  French. 

A  charming  Pierrot-Pierrette  fantasy  is  this  little  play  about  love  and 
dreams.  The  players  are  two  men  and  one  woman:  Pierrot  and  Pierrette,  of 
course,  and  the  Maker  of  Dreams,  all  in  their  usual  costumes.  The  set  is  a 
room  in  a  cottage,  with  meagre  furnishings  but  a  cheery  fireplace.  Royalty, 
$8  payable  to  French. 

A  Marriage  Has  Been  Arranged,  by  Alfred  Sutro.  French.  In  “Five  Little 
Plays."  Brentano. 

A  clever  little  play  for  two  persons  about  a  proposal  by  a  self-made  million¬ 
aire  of  forty-two  to  an  oldest  daughter,  in  her  ninth  season,  still  unmarried. 


PLAYS  FOR  HIGH  SCHOOLS 


15 


The  set  is  a  corner  of  a  conservatory,  unusually  easy  to  provide.  Royalty,  $5 
payable  to  French. 

Miss  Civilisation,  by  Richard  Harding  Davis.  French. 

This  is  an  exciting  play  in  which  a  clever  girl  outwits  and  brings  about  the 
capture  of  three  crooks.  Four  men  and  one  woman  are  required:  Uncle  Joseph 
Hatch,  alias  “Gentleman  Joe”;  Brick  Meakin,  alias  “Reddy  the  Kid”; 
Harry  Hayes,  alias  “Grand  Stand  Harry”;  Captain  Lucas,  chief  of  police, 
and  the  girl,  Alice  Gardner.  The  scene  is  the  dining  room  of  the  Gardner 
home  on  Long  Island.  No  royalty. 

The  Medicine  Show,  by  Stuart  Walker.  In  “Portmanteau  Plays.”  Stewart. 

One  of  Walker’s  interludes,  this  is  a  play  delightfully  suited  to  effective 
presentation  under  the  limitations  of  the  small  high  school  stage.  The  players 
are  three  men:  Lut’er,  Giz,  and  Dr.  Stev’n  Yandexter.  The  scene  is  on  the 
south  bank  of  the  Ohio  River.  An  old  soap  box,  a  log,  and  a  large  stone  are 
visible  before  the  curtain.  The  river  is  supposed  to  flow  between  the  stage 
and  the  audience.  Permission  from  Walker. 

A  Merry  Death,  by  Nicholas  Evreinov.  In  “Five  Russian  Plays”  (C.  E. 
Bechhofer)  Dutton. 

This  is  a  delightful  Russian  harlequinade  about  the  merry  death  of  Harle¬ 
quin.  With  omission  of  a  few  lines  and  with  easily-made  fanciful  costumes 
and  set,  it  becomes  very  effective.  The  players  are:  Harlequin,  Pierrot, 
Columbine,  a  Doctor,  and  Death.  A  photograph  of  the  production  of  this 
play  by  the  Washington  Square  Players  will  be  found  in  Constance  D’Arcy 
Mackay’s  “The  Little  Theatre  in  the  United  States.” 

Modesty,  by  Paul  Hervieu.  Barrett  H.  Clark’s  translation.  French. 

This  is  a  lively  and  witty  comedy  in  which  Jacques  and  Albert  propose  to 
Henriette,  a  changeable  coquette,  who  makes  final  decision  for  Jacques.  The 
players  wear  evening  dress.  The  set  is  the  parlor  in  Henriette ’s  apartment 
in  Paris.  No  royalty. 

The  Neighbours,  by  Zona  Gale.  In  “Wisconsin  Plays,”  edited  by  Thomas  H. 
Dickinson.  Huebsch. 

Neighborliness  is  the  theme  of  this  play  of  American  country  life.  The 
“folks”  of  the  play  are  two  men  and  six  women:  Grandma,  Mis’  Diantha 
Abel,  Ezra  Williams,  Peter,  Inez,  Mis  ’  Elmira  Moran,  Mis  ’  Trot,  all  neighborly 
and  willing  to  do  a  bit  to  help  Mis’  Carry  Ellsworth.  The  scene  is  a  kitchen 
with  ironing  board,  clotlies-bars,  wood-bottomed  chairs,  and  other  evidences  of 
a  busy  ironing  day.  An  easily  paid  royalty, — organize  a  neighborhood  group 
or  plant  a  fruit  tree  and  write  Zona  Gale  about  it. 

Nevertheless,  by  Stuart  Walker.  In  “Portmanteau  Plays.”  Stewart. 

One  of  Walker’s  whimsical  interludes  to  be  played  before  the  curtain  on  the 
forestage  arranged  with  two  chairs,  a  stool,  a  table,  and  a  lamp,  to  suggest 
a  room  which  belongs  to  very  young  people.  The  players  are  three:  a  girl, 
a  boy,  and  a  burglar.  Excellent  for  small  high  schools.  Permission  from 
Walker. 

A  Night  at  an  Inn,  by  Lord  Dunsany.  In  ‘  ‘  Plays  of  Gods  and  Men.  ’  ’  Luce. 

This  is  an  intensely  interesting  story  of  the  pursuit  and  recovery  of  ruby 
eye  stolen  from  an  Indian  idol  by  a  “dilapidated  gentleman”  and  his  three 
merchant  sailor  pals.  The  players  are  eight  men,  the  dilapidated  gentleman, 
his  three  friends,  three  priests  of  Klesh  in  the  costumes  of  natives  of  India 
and  the  idol  Klesh  himself  in  grotesque  mask  and  costume.  The  setting,  easily 
arranged  is  a  room  in  an  inn.  Royalty,  $10  payable  to  Swartout. 


16  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


Overtones,  by  Alice  Gerstenberg.  In  “ Washington  Square  Plays.”  Doubleday. 

This  play  is  a  clever  satire  on  the  characters  of  two  society  women,  each 
represented  by  her  cultured  and  hei  primitive  self.  The  players  are  four 
women:  Harriet  and  Margaret,  cultured  women,  and  Hetty  and  Maggie,  their 
primitive  selves.  The  scene  is  Harriet’s  fashionable  living  room.  A  tea 
service  and  an  attractive  cabinet  or  lamp  are  required.  Royalty,  $10  payable 
to  Swartout. 

Playgoers,  by  Arthur  Wing  Pinero.  French. 

This  is  an  amusing  episode  in  the  life  of  a  young  wife  who  tries  in  vain  to 
make  playgoers  of  her  servants.  The  players,  two  men  and  six  women,  are 
the  master,  the  mistress,  the  cook,  the  kitchenmaid,  the  house  maid,  the  useful 
maid,  and  the  odd  man.  The  set  is  a  morning  room  in  a  house  in  London. 
Royalty,  $5  payable  to  French. 

The  Post-Scriptum,  by  Emile  Augier.  Barrett  H.  Clark’s  translation.  French. 

This  is  an  interesting  little  French  comedy  in  which  M.  de  Lancy  proposes 
to  Mme.  de  Verliere  and  finds  himself  in  an  amusing  dispute  about  love,  from 
which  he  emerges  the  victor,  when  the  Madame  herself  fails  in  her  own  test. 
One  other  player,  a  maid,  is  required.  The  set  is  an  easily  arranged  living- 
room.  No  royalty. 

A  Pot  of  Broth,  by  William  Butler  Yeats.  In  “The  Hour  Glass  and  Other 
Plays.  ’  ’  Macmillan. 

This  is  an  unusually  good  Irish  comedy  in  which  a  beggarman  uses  his  wits 
to  fill  his  stomach  at  the  home  of  Sibley  Coneely,  in  whose  heart  “there’s  no 
more  pity  .  .  .  than  there’s  a  soul  in  a  dog.”  One  other  man  is  needed  to  play 
John  Coneely,  Sibley’s  husband.  The  scene,  a  cottage  kitchen,  can  be  easily 
arranged. 

The  Bising  of  the  Moon,  by  Lady  Augusta  Gregory.  In  1  1  Seven  Short  Plays.  ’  ’ 
Luce. 

This  play  tells  an  attractive  story  of  the  escape  of  an  Irish  patriot  with  the 
aid  of  a  police  sergeant  who  chose  between  duty  and  love  of  Ireland.  The 
players  are  four  men:  a  sergeant,  two  policemen,  and  the  patriot  disguised  as 
a  ragged  man.  The  simplicity  of  the  set  makes  the  play  an  excellent  one  for 
small  stages.  The  scene  is  the  side  of  a  quay  in  an  English  seaport  town  and 
requires  only  an  old  barrel,  a  lantern,  a  placard,  and  an  easily  arranged  effect, 
moonlight.  Royalty,  $5  payable  to  French. 

Bosalie,  by  Max  Maurey.  Barrett  H.  Clark’s  translation.  French. 

This  is  a  clever  farce  about  a  stubborn  maid  who  leads  her  master  and 
mistress  into  embarrassment.  The  players  are  a  man  and  two  women:  Mon¬ 
sieur  Bol,  Madame  Bol,  and  Rosalie.  The  scene  is  a  parlor,  simply  arranged. 
No  royalty. 

Bosalind,  by  James  M.  Barrie.  In  “Half  Hours.”  Scribner. 

This  is  a  delightful  little  play  for  two  women  and  one  man.  The  story 
centers  about  the  charming  actress  who  has  run  away  from  London  to  spend 
a  short  vacation  in  a  cottage  by  the  sea.  The  scene  is  the  parlor  of  that  cottage. 

Sam  Average,  by  Percy  Mackaye.  In  “Yankee  Fantasies.”  Duffield.  Also 
in  Margaret  G.  Mayorga’s  “Representative  One-Act  Plays  by  American 
Authors.  Little. 

This  is  an  excellent  little  fantasy,  with  a  patriotic  appeal.  The  scene,  not 
difficult  to  set,  is  an  intrenchment  in  Canada,  near  Niagara  Falls  shortly  be¬ 
fore  dawn  on  Thanksgiving  day  in  the  year  1814.  The  players  are  three  men 
and  one  woman:  Joel  and  Andrew,  discouraged  soldiers;  the  latter’s  wife, 
Ellen;  and  “Uncle”  Sam  Average.  A  photograph  of  the  setting  of  this  play 
as  produced  by  the  Dramatic  Club  of  the  College  of  William  and  Mary, 


PLAYS  FOR  HIGH  SCHOOLS 


17 


Williamsburg,  Va.,  will  be  found  on  Page  129  of  The  Drama  for  January, 
1921.  Permission  from  the  author. 

Six  Who  Pass  While  the  Lentils  Boil ,  by  Stuart  Walker.  In  ‘  *  Portmantean 
Plays.”  Stewart.  Also  in  Margaret  G.  Mayorga's  “ Representative 
One- Act  Plays  by  American  Authors.”  Little. 

This  is  a  delightfully  fantastic  comedy  for  ten  players,  seven  boys  and 
three  girls:  the  Prologue  and  the  Device-Bearer;  a  Queen  who  was  fleeing 
from  decapitation;  Sir  Davie  Little  Boy,  who  wouldn't  break  a  promise  for  a 
‘ 1  pail  of  gold,  two  finger  rings,  and  a  seat  at  the  feet  of  the  king  ” ;  a  dainty 
Butterfly,  a  Mime,  a  Milkmaid,  a  Blindman,  and  a  Ballad  Singer  all  on  the 
way  to  the  decapitation;  and  the  Dreadful  Headsman  himself.  The  scene  is 
a  kitchen  and  the  period  is  when  you  will, — altogether  adaptable  to  a  director's 
limitations  and  desires  as  to  stage  and  costume.  Permission  to  perform  must 
be  secured  from  Walker. 

Spreading  the  News,  by  Lady  Augusta  Gregory.  In  “ Seven  Short  Plays.” 
Luce. 

This  is  a  lively  Irish  comedy  about  the  growth  of  village  gossip.  The  play¬ 
ers  are  seven  men  and  three  women:  Jack  Smith  and  Bartley  Fallon,  who 
gossips  said  had  a  falling  out;  Shawn  Early,  Tim  Casey,  Mrs.  Tarpy,  Mrs. 
Tully  and  James  Ryan,  who  spread  the  news  until  Bartley  was  accused  of 
murder;  Mrs.  Fallon,  a  policeman,  and  a  magistrate.  The  setting  is  an  apple- 
stall  on  the  outskirts  of  the  village  fair.  Royalty,  $5  payable  to  French. 

The  Tents  of  the  Arabs,  by1 Lor cL  Pnnsany.  In  “ Plays  of  Gods  and  Men.” 
Luce.  ,  ,  C '  f  ' 

This  is  a  beaut  if  iil’  poetic  'storyof  ate  Arab  ’king -whd  deserts  his  kingdom 
for  the  desert  and  his  gypsy-love.  The  players  aye  five  men  and  one  woman: 
an  Arab  king,  his, chamberlain  and  a. notable,  two  camel- drivers,  and  Eznarza, 
a  gypsy  of  the  desert.  Th«  scene  outside  Hie  gate  of  a  city  on  the  edge  of 
the  desert,  can  Be  .arranged*  teery  simply.  It  offers  excellent  opportunity  for 
easy  and  attractive^  lighting.  -The  costumes  are  those  of  Arabs.  This  play 
should  most  certainly  be  inekided  in  programs  of  high  schools  which  are  mak¬ 
ing  a  beginning  in  the  use  of  artistic  costumes,  colors,  and  lights.  Royalty, 
$15  payable’- to.  Swartout. 

The  Twelve  Pound  Look,  by  James  M.  Barrie.  In  “Half  Hours.”  Scribner. 

This  is  a  good  serious  comedy  for  one  man  and  two  women,  a  plea  for  a 
certain  type  of  woman  against  the  selfishness  of  men.  The  set  is  a  simple 
interior. 

Three  Pills  in  a  Bottle,  by  Rachel  Lyman  Field.  In  “Plays  of  the  47  Work¬ 
shop.  ' '  Brentano. 

This  is  a  fantastic  little  play  about  an  unselfish  little  sick  boy,  Tony  Sims, 
who  gave  away  three  precious  pills  which  were  to  make  him  well.  The  other 
players  in  the  group  are  three  women  and  four  men:  the  Widow  Sims ; 
Tony's  mother;  a  middle-aged  gentleman,  his  soul;  a  scissors  grinder,  his 
soul;  a  scrub  woman,  and  her  soul.  The  scene  is  a  room  in  the  Widow  Sims' 
house  with  a  window  which  looks  out  upon  the  street.  Permission  for  per¬ 
formance  must  be  secured  from  47  Workshop.  Royalty,  $10  payable  to 
Swartout. 

The  Traveling  Man,  by  Lady  Augusta  Gregory.  In  “Seven  Short  Plays.” 
Luce. 

This  is  a  modern  miracle  play  set  in  the  kitchen  of  an  Irish  peasant  cottage. 
The  players  are  a  mother,  a  child,  and  a  ragged  man.  The  setting  can  be 
easily  arranged,  for  the  play  must  be  done  simply  to  retain  its  tone.  Royalty, 
$5  payable  to  French. 


—  -i  JuIDaC  AK  Y 

eastern  Illinois  universit 

CHARLESTON,  ILLINOIS 


18  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


The  Trimplet,  by  Stuart  Walker.  In  “Portmanteau  Plays. ”  Stewart. 

This  is  a  charming  poetic  fantasy  which  requires  careful  work  on  the  part 
of  three  men  and  two  women.  The  players  are  the  Lady  Bobolara,  the  Mar¬ 
quess  of  Strenathco,  the  Lady  Caratina,  the  Baron  Milton  Maurice,  the  Person 
Passing  By,  and  You  in  the  Audience.  “The  time  is  partly  then  and  partly 
now-a-days. ’ ’  “The  scene  is  a  lonely  place’ ’  and  offers  an  opportunity  for 
the  exercise  of  the  imagination  of  the  teacher-director.  Permission  for  per¬ 
formance  must  be  secured  from  Walker. 

The  Very  Naked  Boy,  by  Stuart  Walker.  In  “Portmanteau  Plays.”  Stewart. 

This  is  a  delightful  “Interlude  Before  the  Curtain”  for  three  players:  He, 
She,  and  Brother.  The  scene  is  half  way  to  a  proposal  in  a  hallway  with  a 
heavily  curtained  doorway  in  the  center  and  two  chairs  with  a  tabouret  be¬ 
tween  them.  Excellent  for  small  high  schools.  Permission  from  Walker. 

Where  hut  in  America,  by  Oscar  M.  Wolf.  In  Margaret  Mayorga’s  Repre¬ 
sentative  One- Act  Plays  by  American  Authors.”  Little. 

This  is  a  clever,  satirical,  servant-problem  comedy  for  a  man  and  two  women : 
Robert  Espenhayne,  an  energetic  business  man  of  thirty;  Mollie,  his  attractive 
wife;  and  Hilda,  the  cook.  The  scene  is  a  dining  room.  Permission  for  per¬ 
formance  must  be  secured  from  the  author  at  105  West  Monroe  St.,  Chicago. 

Why  the  Chimes  Bang,  by  Elizabeth  Apthorp  McFadden.  French. 

This  play  is  a  dramatization  in  one-act  of  the  story  by  Raymond  McDonald 
Alden  entitled,  “Why  the  Chimes  Rang,”  published  by  the  Bobbs-Merrill 
Company,  Indianapolis,  Ind.  It  makes  an  unusually  fine  Christmas  play  and 
has  been  successfully  produced  by  amateur  gvo.ups.  ,  It  requires  as  players  a 
peasant  boy,  his  young  brother,  their  ipicle,  an  old  w&man  and  several  super- 
numaries  as  lords,  ladies,  a  priest  and  a  king.  The  scene 'is  the  interior  of 
a  wood-chopper’s  hut  on  the  edge  of  a  forest  near  a  cathedral  town.  The 
book  of  the  play  contains  full  suggestions  and  pictures  of  simple  and  effective 
methods  of  staging.  It  has  notes  on  3cenery,  music,  lighting,  costumes  and 
properties.  Royalty,  when  no  admission  charged,  c$5  for  £>ach  performance ; 
when  an  admission  fee  is  charged,  $10  for  each"  pbrf prmancp,  payable  to  French. 

The  Zone  Police,  by  Richard  Harding  Davis.  French.-  '  \  '  - 

This  is  an  interesting  story  of  a  scheme  by  a  lieutenant  cf  the  canal-zone 
police  to  reform  his  liquor-loving  major.  The  major  is  tricked,  into  belief 
that  he  has  killed  a  man  in  a  drunken  rage  and  is  forced  to  take"  the  oath. 
The  players  are:  the  major,  the  lieutenant,  a  sergeant,  and  a  private,  four 
men  in  uniform.  The  set  is  a  bare,  official  looking  military  police  office  on 
the  Isthmus  of  Panama.  Royalty,  $5  payable  to  French. 

LONG  PLAYS 

The  Admirable  Crichton,  by  James  M.  Barrie.  Scribner. 

This  is  an  unusually  good  four-act  comedy,  the  plot  of  which  is  built  about 
the  impossibility  of  breaking  down  barriers  between  social  classes  in  England. 
Walter  Pritchard  Eaton  says  that  “The  Admirable  Crichton”  is  “one  of  the 
finest  and  most  significant  plays  yet  written  in  English  in  the  twentieth 
century.”  Six  men  and  six  women  make  up  the  cast:  Lord  Loam,  Lord 
Brockelhurst,  Hon.  Ernest  Woolley,  Mr.  Treherne,  a  clergyman;  Ladies  Cath¬ 
erine,  Agatha  and  Mary,  daughters  of  Lord  Loam;  Countess  Brockelhurst; 
Tweeny,  a  kitchen-maid  and  several  servants.  Acts  I  and  IV  are  interiors  of 
the  living  room  at  Loam  House,  May  fair.  Acts  II  and  III  are  an  exterior 
and  an  interior  on  a  desert  island  in  the  Pacific.  They  offer  opportunity  for 
ingenuity  in  stage  setting.  They  can  be  set  by  using  drapes.  The  exterior 
is  easily  possible  if  drapes  are  used.  Royalty,  $50  payable  to  French. 


PLAYS  FOR  HIGH  SCHOOLS 


19 


Alice  Sit-By-The-Fire,  by  James  M.  Barrie.  Scribner. 

Alice  Sit-By-The-Fire  is  the  story  of  a  woman  who  has  lost  her  girlhood. 
In  it  we  have  “  Barrie’s  April-weather  manner,’ ’  and  delicate  and  fanciful 
wisps  of  sentiment,  of  opinion,  and  of  character.  The  play  is  in  three  acts 
and  requires  4  men  and  5  women  as  players.  The  principal  parts  are  Colonel 
Gray;  Alice  Gray,  his  wife;  Amy  and  Cosmo,  their  children;  Ginevra,  and 
Stephen  Rollo,  “too  young  to  be  a  villain,  but — all  the  villain  we  can  pro¬ 
vide  ;  ’  ’  and  servants.  Two  simply  furnished,  easily  arranged  interiors  are 
needed.  Royalty,  $50  payable  to  French. 

All-o f -a- Sudden  Peggy,  by  Ernest  Denny.  French. 

This  is  a  light  popular  comedy,  about  the  impulsiveness  of  Peggy  O’Mara, 
told  in  three  acts,  designated  as  follows:  Act  I,  “The  Suddenness  of  Peggy;” 
Act  II,  ‘ 1  The  Suddenness  of  Consequences ;  ’  ’  Act  III,  ‘ 1  The  Consequences  of 
Suddenness.”  Eleven  players  are  required,  six  men  and  five  women:  Anthony, 
Lord  Crackenthorpe,  fellow  of  the  Entomological  Society;  the  Hon.  Jimmy 
Keppel,  his  brother;  Major  Archie  Phipps;  Jack  Menzies;  Parker  and  Lucas, 
servants;  Lady  Crackenthorpe,  Anthony’s  Mother;  the  Hon.  Millicent  Keppel, 
his  sister;  the  Hon.  Mrs.  Colquhoun;  Mrs.  O’Mara,  and  Peggy.  Two  easily 
arranged  interior  scenes  are  required.  Of  no  literary  value.  Royalty,  $25 
payable  to  French. 

The  Amazons,  by  Arthur  Wing  Pinero.  Baker. 

This  is  an  amusing  three-act  farce  in  which  the  author  presents  the  “man¬ 
nish  woman”  idea  in  the  lightest,  gentlest  spirit  of  satire,  and  in  a  whimsical 
mood  of  romance.  “In  the  Tangle  of  Overcote  Park  we  seem  to  hear  distant 
laughing  echoes  from  the  Forest  of  Arden,  and  in  Lady  Noeline  Belturbet 
and  Barrington,  Viscount  Litterly,  we  fancy  we  recognize  the  descendants  of 
Rosalind  and  Orlando.”  The  play  requires  seven  men  and  five  women: 
Barrington,  Viscount  Litterly;  Galfred,  Earl  of  Tweenwayes;  Andre,  Count 
de  Grival;  Rev.  Roger  Minchin;  Fitton,  a  gamekeeper;  Youatt,  a  servant; 
Orts,  a  poacher;  Miriam,  Marchioness  of  Castle jordan ;  her  three  daughters, 
the  Ladies  Noeline,  Wilhelmina,  and  Thomasin;  Belturbet;  and  “Sergeant/” 
Shutter.  The  scene  is  first  in  “The  Tangle,”  an  overgrown  corner  6f  Over¬ 
cote  Park  and  then  in  the  gymnasium  at  Overcote  Hall.  Both  sets  are  a  bit 
difficult  but  they  can  be  arranged.  Royalty,  $10  payable  to  Baker. 

An  American  Citizen,  by  Madeleine  Lucette  Ryley.  French. 

This  is  a  comedy  in  four  acts  about  a  man  who  falls  in  love  with  his  wife. 
One  Cruger,  in  order  to  meet  his  liabilities  marries  his  cousin,  an  English  girl, 
whom  he  does  not  love.  The  couple  do  not  meet  again  until  a  year  later. 
Then  Cruger  falls  in  love  with  his  wife,  discovers  that  she  has  no  fortune, 
turns  to  manufacturing  shoe  polish,  renounces  his  English  citizenship,  and 
comes  to  America  to  live  happily.  Players  required  are  nine  men  and  five 
women.  The  scenes  are  three  interiors  and  one  exterior.  Of  no  literary  value. 
Royalty,  $25  payable  to  French. 

Arms  and  the  Man,  by  Bernard  Shaw'.  Brentano. 

This  is  “a  pleasant  play”  in  three  acts  in  which  Mr.  Shawr  thrusts  delicately 
at  militarism  and  incidentally  writes  a  brilliant  comedy  for  high  school  play¬ 
ers.  The  four  men  and  three  women  of  the  play  are:  Major  Paul  Petkoff,  a 
Bulgarian,  about  fifty;  Catherine,  his  wife;  Raina,  his  daughter;  Louka,  the 
maid;  Major  Sergius  Saranoff,  ostensibly  suitor  to  Raina;  Nicola,  the  butler; 
and  Captain  Bluntschli  of  the  Swiss  army,  Raina ’s  “chocolate  cream  soldier.” 
The  scene  is  the  home  of  Major  Petkoff  in  a  small  Bulgarian  town  near 
Dragoman  Pass  and  requires  a  lady’s  bedchamber,  a  garden,  and  a  library 
for  the  three  acts.  Royalty,  $25  payable  to  French. 


20  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


The  Art  of  Being  Bored ,  by  Edouard  Pailleron.  Barrett  H.  Clark’s  transla¬ 
tion  of  “  Le  Monde  ou  1’  on  s’Ennuie.”  French. 

This  is  a  witty  and  effective  French  comedy  of  manners  in  three  acts  for 
eleven  men  and  nine  women.  Two  interior  settings,  one  a  drawing  room,  the 
other  a  conservatory,  are  required.  No  royalty. 

As  You  Like  It,  by  William  Shakespeare. 

As  You  Like  It  is  a  generally  popular  choice  of  teachers  who  desire  to 
produce  a  Shakespeare  play  with  high  school  boys  and  girls.  And  with  good 
reason,  for  the  play  is  replete  with  delicate  and  intense  beauty.  “The  play 
abounds  in  wild  frolicsome  graces  which  cannot  be  described;  which  can  only 
be  seen  and  felt.  To  all  which  add  that  the  kindlier  sentiments  everywhere 
in  the  play  seem  playing  out  in  a  sort  of  jubilee.  United  for  set  purposes 
and  definite  aims,  the  persons  come  forth  with  their  hearts  already  tuned, 
and  all  they  say  and  do  is  music.”  It  can  be  presented  with  great  effective¬ 
ness  out  of  doors.  It  can  be  presented  indoors  on  a  stage  arranged  in  a  some¬ 
what  conventional  manner  with  screens  or  drapes.  It  requires  careful  attention 
to  costumes.  It  will  repay  in  large  measure  all  energy  expended  in  details  of 
production.  The  play  requires  seventeen  men,  four  women  and  lords,  pages, 
foresters  and  other  attendants.  There  are  several  good  acting  editions  of  the 
play.  The  Ben  Greet  edition  containing  excellent  stage  directions,  formerly 
published  by  Doubleday,  may  be  available  in  some  libraries.  An  edition  based 
on  the  prompt-book  of  Julia  Marlowe  is  published  by  Baker.  An  edition 
arranged  for  the  American  Academy  of  Dramatic  Art  is  published  by  French. 

The  Bluffers  or  Dust  in  the  Eyes.  R.  M.  George’s  translation  of  “La  Poudre 
aux  yeux,”  by  Labiche  and  Martin.  French. 

This  is  a  bright,  lively  comedy  in  two  acts  which  is  especially  good  for 
amateurs  in  small  high  schools.  Its  story  centers  about  the  efforts  of  the 
parents  of  Frederick  Ratinois  and  Emmeline  Malingear,  the  lovers,  to  throw 
dust  in  each  other’s  eyes  by  putting  on  airs  and  attempting  to  deceive  each 
other  as  to  the  true  social  position  of  their  respective  families.  Through  the 
efforts  of  a  blunt  old  uncle,  the  pretenders  are  rebuked  and  the  lovers  are 
made  happy.  Fifteen  players  are  needed,  nine  men  and  six  women.  Members 
and  servants  of  one  family  are:  M.  Malingear,  a  doctor;  Mme.  Malingear; 
Emmeline,  their  daughter ;  Sophie,  their  cook ;  Alexandrine,  their  maid ; 
Upholsterer,  their  “little  seventeen,”  their  neighbor’s  footman.  Members 
and  servants  of  the  other  family  are:  M.  Ratinois,  a  retired  confectioner; 
Mme.  Ratinois;  Frederick,  their  son;  Robert,  their  uncle;  Josephine,  their 
maid;  their  neighbor’s  footman;  a  chef  from  Chevet’s,  and  a  negro  boy  in 
livery.  The  scenes  are  two  interiors  very  easy  to  arrange,  the  first  in  the  home 
of  M.  Malingear  on  a  May  morning,  and  the  second  in  the  home  of  M.  Rati¬ 
nois,  on  a  June  evening.  No  royalty. 

The  Canterbury  Pilgrims,  by  Percy  Mackaye.  Macmillan. 

This  is  an  unusually  fine  arrangement  and  reworking  of  the  materials  of 
Chaucer ’s  1 1  The  Canterbury  Tales.  ”  It  is  a  comedy  in  four  acts  and  requires 
careful  work  in  production.  In  fact,  it  is  built  on  the  scale  of  a  small  pageant- 
drama  and  requires  forty-six  men  and  seven  women.  It  is  very  effective  when 
produced  out  of  doors,  and  is  to  be  recommended  that  high  schools  present 
it  in  that  manner.  The  players  are  in  two  groups:  those  based  on  “The 
Canterbury  Tales,”  including,  of  course,  Geoffrey  Chaucer  and  the  familiar 
characters;  and  characters  introduced  by  the  author  of  this  arrangement.  The 
principal  new  characters  not  based  on  “The  Canterbury  Tales”  are:  Richard 
II,  king  of  England;  John  of  Gaunt,  Duke  of  Lancaster,  uncle  of  the  king, 
brother-in-law  of  Chaucer;  the  Duke  of  Gloucester,  his  brother;  De  Vere,  duke 
of  Ireland;  the  archbishop  of  Canterbury;  John  Wycliffe,  the  religious  re¬ 
former;  and  Johanna,  Marchioness  of  Kent.  The  scenes  are  laid  as  follows: 


PLAYS  FOR  HIGH  SCHOOLS 


21 


Act  I,  the  Tabard  Inn;  Act  II,  Garden  of  the  One  Nine-pin  Inn  at  Bob-up- 
and-down;  Act  III,  Hall  of  the  One  Nine  pin;  Act  IV,  Before  the  west  front 
of  Canterbury  Cathedral.  The  scenes  can  be  made  simple  for  amateur  pro¬ 
duction,  yet  the  play  will  retain  its  effectiveness.  Permission  for  performance 
should  be  secured  from  the  author. 

The  Chinese  Lantern,  by  Laurence  Housman.  Revised  Edition.  French. 

This  is  a  delightful  comedy,  its  story  a  legend  about  the  old  Chinese  painter 
Wiowani,  whose  spirit  watches  over  and  protects  Tikipu,  a  poor  student  who 
is  general  drudge  for  Olangtsi,  a  teacher  of  art  and  Mee-Mee,  a  Korean  slave- 
girl.  It  has  a  quaint  oriental  atmosphere  and  offers  possibilities  for  artistic 
setting,  costuming  and  lighting.  The  play  requires  twelve  men  and  three 
women,  but  it  may  be  played  well  by  a  cast  composed  entirely  of  women.  The 
other  players  are:  Mrs.  Olangtsi;  Yunglantsi,  her  fat,  lazy  son;  Josi-Mosi,  a 
Chinese  rag  and  bone  merchant;  Cosi-Mosi,  his  brother,  a  money-lender;  and 
seven  Chinese  art  students  and  apprentices.  One  scene,  the  interior  of 
Olangtsi ’s  studio,  serves  for  three  acts.  A  picture  frame  (perhaps  six  by  nine 
feet)  which  can  be  easily  constructed  of  compo-board  is  required.  Royalty, 
$25  payable  to  French. 

Clarence,  by  Booth  Tarkington.  French. 

Clarence  is  a  thoroughly  American  comedy  in  four  acts,  which  has  as  play¬ 
ers  five  men  and  five  women,  a  group  of  characters  such  as  only  Booth  Tarking¬ 
ton  can  offer.  Clarence  has  no  medals,  no  shoulder  bars.  He  was  one  of  the 
“five  million, ”  an  entomologist  who  found  no  field  for  his  specialty  in  the 
war,  just  a  buck  private  who  was  set  to  driving  mules.  Returned  to  civil  life, 
he  seeks  a  job  and  finds  one  in  the  home  of  a  wealthy  Englewood  family, 
where  he  becomes  guide,  philosopher  and  friend  until  the  college  reappoints 
him  to  the  professorship.  The  play  is  delightful,  wholesome  and  as  American 
as  EucTdeberry  Finn.  Two  easily  arranged  interior  sets  are  necessary. 
Royalty,  $25  payable  to  French. 

The  Comedy  of  Errors,  by  William  Shakespeare. 

The  Comedy  of  Errors  can  be  more  easily  adapted  for  presentation  by  high 
school  students  than  almost  any  other  Shakespeare  play.  Its  laughter  and 
rollicking  fun  is  certain  to  appeal.  Teachers  can  make  their  own  cuttings 
and  arrangements  from  the  Rolfe  Edition  published  by  the  American  Book 
Co.  The  Ben  Greet  acting  edition,  formerly  published  by  Doubleday,  and 
now  out  of  print,  contains  very  helpful  stage  directions.  Acting  editions  are 
also  published  by  French  and  Baker.  The  play  can  be  produced  out  of  doors. 
Very  simple  properties  are  required  but  some  care  must  be  given  to  the 
costumes.  Sixteen  principal  players  are  required,  eleven  men  and  five  women, 
with  additional  attendants  and  officers. 

The  Courtship,  by  Louise  Ayres  Garnett.  Rand. 

The  Courtship  is  a  dramatization  of  Longfellow’s  “The  Courtship  of  Miles 
Standish,”  written  at  the  request  of  the  Drama  League  of  America  and  pre¬ 
sented  by  the  Drama  Club  of  Evanston,  Ill.,  in  commemoration  of  the  Pilgrim 
Tercentenary.  This  dramatization  revives  in  an  interesting  manner  the  pretty 
romance  of  Priscilla  Mullen,  John  Alden,  and  Miles  Standish.  The  people, 
the  manners,  and  customs  of  the  Pilgrims  are  well  presented.  The  play  is 
well  suited  for  use  in  high  schools.  It  is  written  in  three  acts  for  production 
indoors  or  out  of  doors.  It  requires  eighteen  players,  eleven  men  and  seven 
women,  with  children,  soldiers,  Indians,  and  settlers  as  supernumeries.  The 
principal  parts  are  those  of  Captain  Miles  Standish,  J ohn  Alden,  Priscilla 
Mullens,  Mary  Chilton,  Bartle  Allerton,  William  Brewster  and  Mistress  Brew¬ 
ster.  Pilgrim  and  Indian  costumes  are  required.  The  scenes  are  the  clearing 
between  the  houses  of  Captain  Standish  and  Elder  Brewster  and  an  open 
spot  on  the  shore  of  Plymouth  harbor.  No  royalty  is  charged  for  performance 
by  high  schools. 


22  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


Dandy  Dick ,  by  Arthur  Wing  Pinero.  Baker. 

This  is  a  farce  written  about  a  dean,  who,  while  being  a  paragon  of  dignity 
and  decorum,  is  driven  by  an  indiscreet  act  into  a  most  undignified  dilemma. 
The  players  are  seven  men  and  four  women:  The  Very  Rev.  Augustin  Jedd, 
D.D.,  Dean  of  St.  Marvell’s;  Sir  Tristram  Mardon,  Bart.;  Major  Tarver  and 
Mrs.  Darbey  of  the  Hussars  quartered  at  Durnstone  near  St.  Marvell’s; 
Georgiana  Tidman,  a  widow  and  the  dean’s  sister;  Salome  and  Sheba,  the 
dean’s  daughters;  Noah  Topping,  constable;  Blore,  the  butler;  Hatcham,  the 
groom;  and  Hannah  Topping,  formerly  a  servant  at  the  deanery.  Two  in¬ 
teriors,  both  easily  set,  serve  for  the  three  acts.  Royalty,  $10*  payable  to 
Baker. 

The  Devil’s  Disciple,  by  Bernard  Shaw.  Brentano. 

This  is  a  comedy  in  three  acts  with  interesting  action.  Its  plot  involves  a 
brave  man  who  takes  the  place  of  another  in  danger,  a  bad  man  who  shows 
the  good  streak,  and  a  providential  escape  from  death.  It  requires  eleven 
men  and  three  women  as  players,  in  Puritan  costumes.  Royalty,  $25  payable 
to  French. 

A  Doll’s  House,  by  Henrik  Ibsen.  Translated  by  William  Archer.  Baker. 

This  is  a  play  in  three  acts  about  the  sacrifice  of  a  woman’s  individuality. 
It  is  much  heavier  than  plays  ordinarily  chosen  for  high  school  production. 
The  players  are  three  men,  four  women,  and  three  children:  Torvald  Helmer; 
Nora  Helmer,  his  wife;  Ivar,  Emmy  and  Bob,  their  children;  Dr.  Rank,  Nils 
Krogstad,  Mrs.  Linden,  and  Anna  and  Ellen,  the  servants.  One  set,  a  com¬ 
fortably  furnished  sitting-room  in  the  Helmer  home  is  used  for  all  acts.  No 
royalty. 

The  Dragon,  by  Lady  Augusta  Gregory.  Putnam. 

The  Dragon  is  a  new  play,  a  wonder  play  with  three  acts  and  real  Irish 
fun.  The  story  tells  how  King  Manus  of  Sorcha,  who  has  learned  in  a  dream 
that  Princess  Nuala  is  in  peril,  comes  in  disguise  to  rescue  her  from  the 
dreadful  dragon ;  how  the  princess  falls  in  love  with  the  king ;  how  the  dragon, 
immense  but  likeable  abjured  flesh-eating,  and  how  the  old  queen  and  the 
old  henpecked  king  get  on.  It  requires  sixteen  players,  ten  men  and  six 
women:  the  king,  the  queen,  the  princess  Nuala,  the  blind  wise  man,  the 
nurse,  the  prince  of  the  marshes;  Manus,  the  king  of  Sorcha;  Fintan,  the 
astrologer ;  Taig ;  Sibby,  Taig ’s  mother ;  a  gatekeeper ;  two  aunts  of  the  prince 
of  the  marshes;  foreign  men;  and  the  dragon.  One  scene,  a  room  in  the 
king’s  house  at  Burren  is  used  for  the  three  acts. 

Fanny  and  the  Servant  Problem,  by  Jerome  K.  Jerome.  French. 

This  is  an  unusually  good  four-act  comedy  in  which  Fanny,  a  charming 
young  niece  of  Martin  Bennet,  the  butler,  establishes  herself  as  a  mistress  of 
her  own  household  when  she  becomes  the  new  Lady  Bantock.  The  other  players 
in  the  cast,  which  includes  five  men  and  eighteen  women,  are:  Vernon  Wether- 
ell;  Lord  Bantock,  Fanny’s  husband;  Susannah  Bennet,  her  housekeeper;  Jane 
Bennett,  her  maid;  Ernest  Bennett,  her  second  footman;  Honoria  Bennett, 
her  still-room  maid;  the  Misses  Wetherell,  her  aunts  by  marriage;  Dr.  Free- 
mantle,  her  local  medical  man;  George  P.  Newte,  her  former  business  man¬ 
ager;  and  twelve  girls,  her  quondam  companions  of  the  stage.  One  scene, 
Fanny’s  boudoir  in  Bantock  Hall,  Rutlandshire,  serves  for  the  four  acts.  Of 
little  literary  value.  Royalty,  $25  payable  to  French. 

Green  Stockings,  by  A.  E.  W.  Mason.  French. 

This  is  an  English  comedy  in  three  acts  about  the  marrying  of  Celia,  who 
announces  her  engagement  to  a  fictitious  Colonel  Smith,  only  to  discover  that 
a  man  later  appears  as  one  Col.  J.  N.  Smith,  D.  S.  O.  The  players  are  seven 
men:  Admiral  Grice,  retired,  a  testy  old  gentleman,  about  sixty-five,  with  the 


PLAYS  FOR  HIGH  SCHOOLS 


23 


manner  of  an  old  sea-dog;  William  Faraday,  a  well  preserved  man  about 
sixty-five,  fashionable,  superficial  and  selfish;  Colonel  Smith,  a  dignified, 
dryly  humorous  man  of  military  bearing,  about  forty  years  old;  Robert  Tar¬ 
ver,  an  empty  headed  young  swell;  Henry  Steele,  age  thirty;  James  Raleigh, 
age  thirty-five.  The  women,  five  in  number,  are  Celia  Faraday,  an  unaffected 
woman  of  twenty-nine,  with  a  sense  of  humor;  Mrs.  Madge  Rockingham,  age 
twenty-five;  Lady  Evelyn  Trenchord,  age  twenty-seven;  Phyllis,  Celia’s 
youngest  sister,  a  pretty  but  selfish  girl  of  twenty;  and  Mrs.  Chisolm  Faraday, 
of  Chicago,  a  quick  tempered  aunt  of  fifty  or  thereabouts.  The  scene  for  the 
first  two  acts  is  a  room  in  Mr.  Faraday’s  country  house.  It  can  be  slightly 
changed  for  the  last  act.  Of  no  literary  value.  Royalty,  $25  payable  to 
French. 

Her  Husband’s  Wife,  by  A.  E.  Thomas.  Doubleday. 

This  is  a  whimsical  comedy,  the  charm  of  which  lies  in  the  character  of 
Irene,  quaint  little  hypochondriac.  The  players  are  six,  three  men  and  three 
women:  Stuart  Randolph,  a  young  husband;  Richard  Belden,  his  brother-in- 
law;  John  Belden,  the  genial  uncle  of  Irene  and  Richard;  Irene  Randolph, 
quaint  little  wife  of  Stuart;  Emily  Ladew,  her  friend;  and  Nora,  an  elderly 
maid  servant.  All  three  acts  take  place  in  the  drawing  room  of  the  Ran¬ 
dolphs  during  racing  season  at  the  Spa.  Royalty,  $25  payable  to  French. 

The  House  Next  Door,  by  J.  Hartley  Manners.  Baker. 

This  is  a  three  act  comedy  dealing  with  the  overthrowing  of  prejudices  of 
an  aristocratic  English  family  against  the  Jews.  There  are  twelve  players, 
eight  men  and  four  women.  The  Cotswold  family  includes  Sir  John  Cotswold, 
baronet;  Margaret,  his  wife;  Ulrica,  his  daughter;  Cecil,  his  son;  Vining, 
his  servant;  and  Captain,  the  Hon.  Clive  Trevor.  The  Jacobson  family  in¬ 
cludes  Sir  Isaac  Jacobson,  M.  P.;  Rebecca,  his  wife;  Esther,  his  daughter; 
Adrian,  his  son;  Maximillian,  his  servant,  and  Walter  Lewis,  musical  agent. 
Two  interiors,  drawing  rooms  of  the  Cotswolds  and  of  the  Jacobsons  are  re¬ 
quired.  Royalty,  $10  payable  to  Baker. 

The  Importance  of  Being  Earnest,  by  Oscar  Wilde.  French. 

A  trivial  and  brilliant  three-act  comedy,  one  which  has  been  a  favorite  with 
amateurs  for  many  years.  The  players  are  five  men  and  four  women:  John 
Worthing,  J.  P.  of  the  Manor  house,  Woolton,  Hertfordshire;  Algernon  Mon- 
crief,  his  friend,  Rev.  Canon  Chasuble,  D.D.,  rector  at  Woolton;  Merriman, 
butler  to  Worthing;  Lane,  servant  to  Moncrief ;  Lady  Bracknell;  Hon. 
Gwendoline  Fairfax,  her  daughter;  Cecily  Cardew,  Worthington’s  ward;  Miss 
Prism.  The  sets  are  two  interiors  and  an  easily  arranged  garden  set.  Royalty, 
$50  payable  to  French. 

It  Pays  to  Advertise,  by  Roi  Cooper  Megrue  and  Walter  Hackett.  French. 

This  is  a  lively  and  wholesome  farce  with  an  amusing  story  and  good  situa¬ 
tions,  all  centering  about  Rodney  Martin’s  demonstration  of  the  value  of 
advertising  in  making  the  public  believe  that  “13  Soap”  is  “Unlucky  for 
Dirt.”  The  farce  is  in  three  acts  and  requires  eight  men  and  four  women 
as  players:  Cyrus  Martin,  a  soap  magnate;  Rodney,  his  son;  Mary  Grayson, 
elder  Martin’s  secretary;  Ambrose  Peale,  a  press  agent;  William  Smith, 
friend  of  Cyrus  Martin;  Countesse  de  Beaurien;  George  McChesney,  Charles 
Bronson,  Ellery,  a  butler,  a  maid,  and  a  clerk.  The  setting  for  acts  I  and 
III  is  in  the  library  at  Martin’s  home,  and  for  act  II  is  the  office  of  The  13 
Soap  Company.  Of  no  literary  value.  Royalty,  $25  payable  to  French. 

Jeanne  D’Arc,  by  Percy  Mackaye.  Macmillan. 

Although  this  play  is  a  large  and  difficult  undertaking,  it  has  been  done 
successfully  by  high  school  students.  It  is  a  play  of  excellent  literary  and 
artistic  values  which  will  repay  time  and  effort  spent  in  its  production.  The 


24  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


cast  requires  forty  men,  seven  women,  and  supernumaries.  The  principal 
characters  and  those  who  appear  in  more  than  one  act  are  Jacques  D’Arc, 
father  of  Jeanne;  Pierre  D’Arc,  brother  of  Jeanne;  Jeanne  D’Arc,  the  maid; 
Charles  VII.,  King  of  France;  Jean  Due  D’Alencon,  his  cousin;  Seigneur  de 
la  Tremouille,  his  favorite;  Regnault  de  Chartres,  Archbishop  of  Rheims; 
Dunois,  French  Commander  at  Orleans;  Jean  de  Metz;  Bertrand  de  Poulangy 
of  Jeanne’s  escort  to  the  king;  Pasquere,  St.  Augustine  Friar,  Jeanne’s  con¬ 
fessor;  and  Pierre  Cauchon,  Bishop  of  Beauvais.  The  play  requires  six  scenes, 
but  they  may  be  simplified  especially  for  an  out-of-door  production.  Costumes, 
of  course,  must  be  given  careful  attention.  The  play  makes  an  excellent  com¬ 
munity  production  and  is  a  challenge  to  a  well-trained  and  experienced 
director. 

The  Lady  of  the  Weeping  Willow  Tree,  by  Stuart  Walker.  In  11  Portmanteau 
Plays.  ’  ’  Stewart. 

The  Lady  of  the  Weeping  Willow  Tree  is  founded  on  an  old  legend  from 
Japanese  ballads  and  folk-lore.  It  has  beauty,  imagination,  and  emotional 
appeal,  which  have  made  it  popular  with  audiences.  The  players  are  two  men 
and  four  women  in  Japanese  costumes.  The  scenes  are  two  exteriors  easily 
made,  artistic,  the  one  before  the  House  of  Obaa-San,  the  other,  a  Bamboo 
Glade  on  the  Mountain-side.  Permission  for  performance  must  be  secured 
from  Walker. 

Little  Women,  by  Marion  De  Forrest.  French. 

This  is  a  dramatization  of  Louisa  M.  Alcott’s  famous  story,  a  charming 
play  in  four  acts,  the  delightful  story  of  a  family  of  girls.  This  dramatization 
was  produced  successfully  at  The  Playhouse  in  New  York  City  by  William 
A.  Brady.  It  requires  twelve  players,  seven  women  and  five  men.  Two  sets 
are  required,  the  sitting  room  of  the  March  home  in  Concord,  Mass.,  and  the 
garden  at  Plumfield.  Costumes  of  the  period  1863-1868  are  required.  Royalty, 
$25  payable  to  French. 

The  Man  from  Rome,  by  Booth  Tarkington  and  Harry  Leon  Wilson.  Harper. 

This  is  a  popular  comedy  in  four  acts  with  high  school  players,  about  a 
gentleman  from  Kokomo,  Indiana.  It  requires  eleven  men  and  three  women 
as  players.  The  scenes  can  be  set  with  a  little  care  and  to  represent  a  terrace 
and  an  apartment  of  a  hotel  in  Italy.  Royalty,  $50  payable  to  French. 

The  Man  Who  Married  a  Dumb  Wife,  by  Anatole  France.  Translated  by 
Curtis  Hidden  Page.  Lane. 

This  comedy  is  founded  on  a  passage  in  the  11  Lives,  Heroic  Deeds,  and 
Sayings  of  Gargantua  and  His  Son  Pantagruel,”  in  which  one  of  Rabelais’ 
characters  tells  of  moral  comedy  of  him  who  had  espoused  and  married  a  dumb 
wife.  The  good,  honest  man,  her  husband  was  very  earnestly  urgent  to  have 
the  fillet  of  her  tongue  untied.  At  his  desire  some  pains  were  taken  on  her, 
and  she  spoke,  and  spoke  again;  yea,  within  a  few  hours  she  spoke  so  loud, 
so  much,  so  fiercely,  and  so  long,  that  her  poor  husband  returned  to  the 
physician  for  a  recipe  to  make  her  hold  her  peace.  11  There  are,”  quoth  the 
physician,  “many  proper  remedies  in  our  art  to  make  dumb  women  speak, 
but  there  are  none  that  ever  I  could  learn  therein  to  make  them  silent.  The 
only  cure  which  I  have  found  out  is  their  husbands’  deafness.”  The  wretch 
became  within  a  few  weeks  thereafter,  by  virtue  of  some  drugs,  charms,  or 
enchantments,  which  the  physician  had  prescribed  unto  him,  so  deaf  that  he 
could  not  have  heard  the  thundering  of  nineteen  hundred  cannons  at  a  salvo. 
His  wife,  perceiving  that  indeed  he  was  deaf  as  a  doornail,  and  that  her  scold¬ 
ing  was  in  vain,  sith  that  he  heard  her  not,  she  grew  stark  mad.”  Says  Sir 
Thomas  Urquhart  whose  translation  is  quoted  above,  “I  never  in  all  my  life¬ 
time  laughed  so  much  as  at  the  acting  of  that  buffoonery.”  The  players  are 
seven  men  and  three  women  in  mediaeval  costumes:  Leonad  Botal,  judge; 


PLAYS  FOR  HIGH  SCHOOLS 


25 


Catherine,  his  wife;  Boiscourtier,  his  secretary;  Alison,  his  servant;  Adam 
Fumee,  a  lawyer;  Mile,  de  la  Garandiere,  Fumee ’s  ward;  Simon  Colline, 
doctor;  Jean  Maugier,  surgeon  and  barber;  Serafin  Dulaurier,  apothecary; 
and  a  blind  man.  One  scene,  an  interior,  is  used  throughout  and  offers  some 
opportunity  for  ingenious  setting.  An  unusually  good  play  for  high  schools. 
Royalty,  $15  payable  to  Lane. 

A  Man  Without  a  Country,  by  Elizabeth  M  ’Fadden  and  A.  Crimmins.  French. 

This  is  a  dramatization  of  Edward  Everett  Hale’s  story  by  the  same  name. 
It  makes  a  good  patriotic  play  for  high  schools.  It  is  arranged  in  a  prologue, 
three  acts  and  an  epilogue  for  seventeen  men  and  one  woman.  The  costumes 
required  are  army  and  navy  uniforms.  Three  interior  settings  are  needed. 

The  Manoeuvers  of  Jane,  by  Henry  Arthur  Jones.  French. 

This  is  an  interesting  four-act  comedy,  the  story  of  which  centers  about  the 
manoeuvers  of  one  Jane  Nangle  who  outwits  her  guardian  and  a  plot  to  bring 
about  her  marriage  with  the  fop,  Lord  Bapchild.  The  play  requires  ten  men 
and  eleven  women,  the  principal  players  being  Jane  Nangle,  a  wilful,  im¬ 
petuous  girl  of  twenty-one;  Constantia  Gage,  her  sly,  demure  companion  of 
twenty-four;  Lord  Bapchild,  a  very  precise,  pedantic  and  finicky  young  man; 
Lady  Bapchild,  his  mother;  Mrs.  Beechinor,  his  aunt;  Pamela  Beechinor,  his 
awkward  cousin  about  fourteen;  Jervis  Punshon,  a  shrewd  English  country 
gentleman  about  fifty;  George  Langton,  a  young  and  handsome  gentleman- 
farmer  of  twenty-eight.  The  play  requires  three  interior  sets.  Royalty,  $25 
payable  to  French. 

Mary  Goes  First,  by  Henry  Arthur  Jones.  Doubleday. 

This  is  an  interesting  comedy  of  manners,  a  so-called  high  comedy,  about 
“social  climbers”  in  three  acts  and  an  epilogue.  The  play  requires  eight 
men  and  four  women  as  players  and  but  one  interior  scene  throughout,  in  the 
house  of  Felix  Galpin  at  St.  John’s  Hill,  the  “residential”  suburb  of  a 
manufacturing  town.  Royalty,  $25  payable  to  French. 

Mater,  by  Percy  Mackaye.  Macmillan. 

This  is  a  delightful  American  comedy  with  an  American  political  story  for 
its  plot.  The  players  are  only  five,  three  men  and  two  women:  Matilda  Dean 
(“Mater”);  Michael  Dean,  her  son;  Mary  Dean,  her  daughter;  Arthur 
Cullen,  a  political  leader;  and  Rudolph  Verbeck,  in  love  with  Mary.  One 
set,  a  living  room  in  the  Dean  home,  serves  for  the  three  acts.  Royalty,  $25 
payable  to  Percy  Mackaye,  Miami  University,  Oxford,  Ohio. 

Mice  and  Men,  by  Madeleine  Lucette  Ryley.  French. 

This  is  a  romantic  comedy  in  four  acts  which,  can  be  prettily  done  in  cos¬ 
tumes  of  the  period  about  1786.  The  story  centers  about  a  middle-aged  man’s 
attempt  to  influence  the  opinions  of  his  prospective  wife  and  the  upsetting  of 
his  schemes  by  his  young  nephew.  The  players  required  are  seven  men  and 
five  women.  The  play  can  be  presented  by  a  cast  entirely  composed  of  girls. 
Scenes  are  three  interiors  and  one  exterior.  Of  little  literary  value.  Royalty, 
$25  payable  to  French. 

A  Midsummer  Night’s  Dream,  by  William  Shakespeare. 

A  Midsummer  Night’s  Dream,  as  arranged  in  one  of  the  available 
acting  editions  or  in  the  form  of  several  short  plays  which  may  be  taken  from 
the  whole  and  arranged  for  separate  production,  is  especially  fine  for  high 
school  production.  The  Ben  Greet  acting  edition  which  is  published  by 
Doubleday,  contains  excellent  stage  directions.  The  William  Warren  acting 
edition  is  available  from  Baker.  The  play  can  be  presented  advantageously 
out  of  doors,  or  it  may  be  presented  indoors.  The  stage  setting  of  the  play 
can  be  altered  and  simplified  to  meet  conditions.  The  players  required  for  the 


26  UNIVERSITY  OP  IOWA  EXTENSION  BULLETIN 


whole  play  are  eleven  men  and  ten  women  with  additional  fairies  and  attend¬ 
ants.  Some  care  must  be  given  to  costumes,  but  energy  spent  in  this  direction 
will  be  well  repaid. 

Teachers  who  are  interested  in  arranging  parts  of  this  play  in  shorter  form 
will  find  the  following  suggestions  helpful.  The  aim  is  to  present  a  series  of 
connected  episodes  which  will  require  an  hour  or  an  hour  and  a  half  for 
presentation.  Such  short  arrangements  require  less  labor  in  preparation  and 
are  usable  in  small  high  schools  and  in  class  rooms  where  conditions  make  the 
presentation  of  the  whole  play  impossible.  Other  possible  cuttings  from 
Shakespeare  plays  will  no  doubt  suggest  themselves. 

The  following  scenes  involving  the  players  and  their  production  of  ‘  ‘  The 
most  lamentable  Comedy,  and  most  cruel  Death  of  Pyramus  and  Thisby” 
make  an  interesting  series.  (References  are  to  lines  as  numbered  in  the  Rolfe 
edition  published  by  the  American  Book  Co.)  : 

(1)  Act  I,  Scene  II. 

(2)  Act  III,  Scene  I,  lines  1-75. 

(3)  Act  IY,  Scene  II. 

(4)  Act  V,  Scene  I,  lines  108-362. 

The  following  scenes  which  present  the  main  love  story  of  the  play  present 
another  possible  series: 

(1)  Act  I,  Scene  I. 

(2)  Act  II,  Scene  II,  lines  84  to  156. 

(3)  Act  II,  Scene  II,  lines  34-84. 

(4)  Act  III,  Scene  II,  lines  36-464. 

(5)  Act  IV,  Scene  I,  lines  103-199. 

The  following  scenes  which  present  the  midsummer  fairies  make  a  series  full 
of  imaginative  beautv: 

(1)  Act  II,  Scene  I,  lines  1-182  and  244-255. 

(2)  Act  II,  Scene  II,  lines  1-34. 

(3)  Act  III,  Scene  I,  lines  118-198. 

(4)  Act  IV,  Scene  I,  lines  1-98. 

Milestones,  by  Arnold  Bennett  and  Edward  Knoblauch.  Doran. 

This  is  a  serious  play  with  interesting  comedy  elements,  the  story  of  which, 
carried  through  three  acts,  is  that  of  three  generations  of  two  English 
families.  It  is  the  story  of  the  passing  of  milestones  of  progress  in  industry, 
politics,  and  society  since  1860.  The  play  has  met  with  success  in  larger 
high  schools  with  organization  and  equipment  for  handling  the  changes  of 
setting,  costume,  and  make-up.  The  scene  throughout  is  the  drawing  room 
of  the  Rhead  home  in  Kensington  Gore.  For  Act  I,  which  takes  place  in  1860, 
the  furniture  and  decorations  are  of  the  mid-Victorian  period.  For  Act  II, 
in  the  same  room  in  1885,  “the  furniture  has  been  rearranged  and  added  to. 
There  are  new  ornaments  amongst  some  of  the  old  ones.  The  room  is  over¬ 
crowded  with  furniture  in  the  taste  of  the  period.”  For  Act  III  the  same 
room  has  been  entirely  refurnished  in  the  manner  of  a  modern  home  in  1912. 
The  decorations  have  been  changed  and  electric  lights  have  been  installed. 
The  costumes  of  the  players  are  those  of  the  period  of  each  act. 

The  players  are  nine  men  and  six  women,  representatives  of  four  generations. 
They  are  Mrs.  Rhead,  mother  of  Gertrude  and  John,  the  latter  being  the  lead¬ 
ing  character  full  of  determination  and  purpose  in  Act  I,  a  successful  iron 
manufacturer  in  Act  II,  and  a  grandfather,  ready  to  retire  on  his  golden 
wedding  anniversary  in  Act  III;  Samuel  Sibley;  Nancy,  his  wife;  Richard, 
his  son;  and  his  sister,  Rose,  who  becomes  Mrs.  John  Rhead;  Emily  Rhead, 
John’s  daughter;  Ned  Pym,  his  son-in-law,  although  one  of  his  own  generation; 
Lord  Monkhurst  and  the  Hon.  Muriel  Pym,  John’s  grandchildren;  Arthur 
Preece,  an  enterprising  and  successful  business  man  and  politician  of  a 
generation  which  follows  John’s.  In  addition  there  are  two  butlers  and  a 
footman.  Royalty,  $25  payable  to  Kauser. 


PLAYS  FOR  HIGH  SCHOOLS 


27 


Monsieur  Beaucaire,  by  Booth  Tarkington.  Baker. 

This  is  a  dramatization  in  three  acts  of  Booth  Tarkington ’s  novel  by  the 
same  title.  It  requires  fourteen  men  and  seven  women,  but  can  be  played 
by  a  cast  composed  entirely  of  girls.  Costumes  of  the  period  are  required. 
Simple  settings  can  be  easily  arranged.  Royalty,  $10  payable  to  Baker. 

Much  Ado  About  Nothing,  by  William  Shakespeare. 

Much  Ado  About  Nothing  has  a  variety  of  appeal  ranging  from  broad 
comedy  and  sparkling  dialogue  to  pathos  and  tragedy.  It  has  always  been 
effective  on  the  stage.  Several  good  acting  editions  of  the  play  are  available. 
One  edited  by  William  Winter  from  Edwin  Booth’s  prompt  book  can  be 
secured  from  the  Penn  Publishing  Co.  An  edition  by  Winthrop  Ames  can 
be  secured  from  Baker.  The  play  can  be  produced  on  a  stage  arranged  with 
drapes  or  screens  in  a  somewhat  conventional  manner  to  represent  a  Shakes¬ 
peare  stage.  Careful  attention  to  costumes  will  be  amply  repaid  in  the  in¬ 
creased  effectiveness  of  the  production.  For  the  players,  fourteen  men,  four 
women,  and  several  messengers  and  attendants  are  required. 

A  number  of  excellent  scenes  can  be  taken  from  the  comedy  and  produced 
as  separate  short  plays.  Such  a  short  play  can  be  made  of  the  scenes  involv¬ 
ing  Dogberry  and  the  Watch  in  Act  III,  Scene  II,  and  in  Act  IV,  Scene  II. 
Another  can  be  made  of  the  following  scenes  in  the  garden.  (References  are 
to  line  numbers  used  in  the  Rolfd  edition  published  by  the  American  Book 
Co.)  : 

(1)  Act  II,  Scene  I,  lines  359-385. 

(2)  Act  II,  Scene  III. 

(3)  Act  III,  Scene  I. 

(4)  Act  V,  Scene  II. 

(5)  Act  V,  Scene  IV,  lines  72-124. 

Nothing  But  the  Truth,  by  James  Montgomery.  French. 

This  is  an  unusually  successful  farce  in  three  acts,  the  story  of  which 
centers  about  the  hero’s  efforts  to  speak  nothing  but  the  absolute  truth  for  a 
stated  period.  It  requires  six  men  and  five  women  as  players.  The  play  re¬ 
quires  two  sets,  a  broker’s  office  and  a  parlor  at  a  country  home.  Of  no 
literary  value.  Royalty,  $25  payable  to  French. 

Beg  O’  My  Heart,  by  J.  Hartley  Manners.  French. 

“Oh,  there’s  nothing  half  so  sweet  in  life  as  Love’s  young  dream.” 

These  lines  are  the  theme  of  this  comedy  of  youth  which  tells  in  the  acts 
of  the  coming,  the  rebellion,  and  the  winning  of  Peg.  The  players  are  five 
men  and  four  women:  “Peg,”  a  waif  and  an  heiress  given  into  the  hands 
of  her  aunt,  Mrs.  Chichester,  for  training;  her  cousins,  Ethel  and  Alaric; 
Montgomery  Hawkes,  a  solicitor;  Christian  Brent,  a  friend  of  Ethel’s;  Jarvis, 
the  butler;  Bennett,  the  maid;  and  “Jerry.”  The  entire  action  of  the 
comedy  passes  in  the  living-room  of  Mrs.  Chichester’s  house  in  Scarborough, 
England,  in  early  summer.  Of  no  literary  value.  Royalty,  $25  payable  to 
French. 

The  Pigeon,  by  John  Galsworthy.  Scribner. 

This  is  a  fantasy  in  three  acts,  one  of  the  most  delicate  and  charming  of 
Galsworthy’s  plays.  It  requires  eleven  men  and  two  women  as  players.  They 
are:  Christopher  Wellwyn,  an  artist;  Ann,  his  daughter;  Guinevere  Megan, 
a  flower-seller;  Rory  Megan,  her  husband;  Ferrand,  an  alien;  Timson,  once 
a  cabman;  Edward  Bertley,  a  Canon;  Alfred  Calway,  a  professor;  Sir  Thomas 
Hoxton,  a  justice  of  the  peace;  a  police  constable;  three  humble-men  and 
some  curious  persons.  One  set,  Wellwyn ’s  studio,  is  used  throughout  the  play. 
Act  I  takes  place  on  Christmas  Eve,  Act  II  on  New  Year’s  Day,  and  Act  III 
on  the  first  of  April.  Royalty,  $25  payable  to  French. 


28  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


The  Piper,  by  Josephine  Preston  Peabody.  Houghton. 

This  is  an  attractive  poetic  play  based  upon  the  story  of  the  Pied  Piper  of 
Hamelin.  It  is  an  excellent  play  for  schools.  It  requires  much  labor  and 
care  in  its  production  but  will  repay  energy  thus  spent.  It  can  be  well  done 
out  of  doors.  It  requires  thirteen  men,  six  women  and  five  children  for 
principal  parts,  and  burglars,  nuns,  priests  and  children  as  supers.  The 
principal  parts  are  those  of  the  Piper,  Michael-the-Sword-Eater,  and  Cheat- 
the-Devil,  Strolling  players;  ten  men  of  Hamelin;  and  women  and  children, 
about  a  score.  The  costumes  are  those  of  the  period  1284  A.  D.  The  scenes 
are  in  the  market-place  in  Hamelin,  at  the  Cross-ways,  and  inside  the  i  1  Hollow- 
Hill.,,  Royalty,  $25  payable  to  French. 

Pomander  WalTc,  by  Louis  N.  Parker.  French. 

This  is  a  charming  romantic  comedy  about  old-fashioned  folk  and  times  of 
1805.  It  requires  eighteen  players,  ten  men  and  eight  women.  The  men  are 
John  Sayle,  10th  Baron  Otford,  Admiral  Sir  Peter  Antrobus,  a  genial  old 
man;  Jerome  Brooke-Hoskyn,  Esq.,  pompous  and  self-sufficient;  Basil  Pringle, 
a  hunch  back;  the  1 1  Eyesore, ”  a  nondescript;  Lieut.  The  Hon.  John  Sayle, 
R.  N. ;  The  Rev.  Jacob  Sternroyd,  D.D.,  F.  S.  A.;  Jim,  the  muffin-man,  and 
the  lamplighter.  The  women  include  Madame  Lucie  Lachesnais,  attractive 
woman  of  middle  age;  Mile.  Marjolaine  Lachesnais,  her  daughter  of  seventeen; 
Mrs.  Pamela  Poskett,  forty  and  buxom;  Miss  Ruth  Pennymint,  thin  and  forty; 
Miss  Barbara  Pennymint,  extremely  pretty  and  1  ‘ of  that  age”  which  is  never 
entered  on  the  census  paper;  the  Hon.  Caroline  Thring,  Nanette  and  Jane. 
Costumes  of  1805  are  essential.  One  set,  an  exterior,  is  used  for  the  three 
acts.  It  is  elaborate  but  repays  careful  work  in  planning  and  construction. 
It  requires  a  large  stage.  Royalty,  $25  payable  to  French. 

Prunella,  by  Laurence  Housman  and  Granville  Barker.  Little. 

This  is  a  charming  poetic  comedy  of  love  in  a  Dutch  garden.  It  offers 
interesting  possibilities  of  costuming  and  setting.  It  requires  twenty-two 
players:  Pierrot;  Scaramel,  his  servant;  eight  mummers  and  Tenor,  a  hired 
singer;  Prunella;  three  aunts,  Prim,  Prude  and  Privacy;  two  servants,  Queer 
and  Quaint;  three  gardeners,  a  fat  boy  and  Love,  a  statue.  The  scene  is  a 
garden  which  may  be  arranged  attractively  in  a  conventional  design.  Cos¬ 
tumes  of  the  usual  design  are  required  for  Pierrot  and  his  company,  and 
prim  quaint  costumes  for  Prunella,  her  aunts,  and  their  servants.  The  play 
requires  music.  The  complete  music  score,  the  prompt  copy  of  the  play  and 
a  set  of  players’  parts,  may  be  secured  from  Mr.  Winthrop  Ames,  The  Little 
Theatre,  244  West  44th  St.,  New  York  City,  N.  Y.  upon  payment  of  royalty 
of  $50  and  a  fee  of  $5  for  the  use  of  the  music. 

Quality  Street,  by  James  M.  Barrie.  Scribner. 

This  is  an  unusually  charming  comedy,  the  story  of  “a  girl  without  girl¬ 
hood,”  written  in  Barrie’s  delightful  manner.  The  play  has  four  acts,  re¬ 
quires  two  interior  settings  and  seven  men  and  six  women  as  players.  Per¬ 
mission  for  performance  from  Charles  Frohman,  Inc.,  Empire  Theatre,  New 
York  City. 

The  Rivals,  by  Richard  Brinsley  Sheridan  (William  Warren  edition).  Baker. 

The  Rivals  is  one  of  the  classics  which  can  and  should  be  more  frequently 
undertaken  by  players  in  schools  and  colleges.  It  requires  nine  men  and  five 
women,  whose  names  are  familiar:  Sir  Anthony  Absolute,  Capt.  Jack  Absolute, 
Faulkland,  Bob  Acres,  Sir  Lucius  O ’Trigger,  Fag,  David,  Boy,  Thomas,  Mrs. 
Malaprop,  Lydia  Languish,  Julia,  Lucy,  and  the  maid.  The  costumes  are  of 
the  period  1775  and  the  sets  for  five  acts  require  some  attention.  There  is 
no  royalty  charge,  and  the  increased  appreciation  for  the  dramatic  literature 
read  in  the  classroom  will  repay  production. 


PLAYS  FOR  HIGH  SCHOOLS 


29 


The  Romancers,  by  Edmond  Rostand.  Barrett  H.  Clark's  translation  of  “Les 
Romanesques. 9  9  French. 

This  is  a  charming,  romantic  fantasy,  a  fine  play  for  high  schools.  It  re¬ 
quires  five  men,  one  woman,  and  a  number  of  supers.  The  characters  are 
Sylvette  and  Percinet,  unusually  romantic  lovers;  Pasquinot  and  Bergamin, 
their  respective  fathers;  Blaise,  the  gardner;  and  Straforel,  a  swaggering 
bravado,  and  his  company  of  swordsmen  and  musicians.  The  play  requires 
Louis  XVI  costumes  which  make  it  a  very  pretty  production.  The  set  is  a 
corner  of  the  private  gardens  of  Bergamin  and  Pasquinot  and  can  be  arranged 
easily  and  artistically.  The  play  is  an  excellent  one  for  out-of-door  pro¬ 
duction.  The  first  act  can  be  produced  separately  as  a  one-act  play.  No 
royalty. 

A  Rose  o’  Plymouth-Town,  by  Beulah  Marie  Dix  and  Evelyn  Greenleaf  Suther¬ 
land.  Dramatic  Pub.  Co. 

This  is  a  romantic  comedy  in  four  acts  in  Plymouth-Town  in  New  England 
in  1622  and  1623.  It  is  especially  good  for  high  school  players  and  has  been 
used  frequently  in  connection  with  the  celebration  of  the  Pilgrim  Tercentenary. 
It  requires  four  men  and  four  women  for  the  following  parts:  Captain  Miles 
Standish  of  Plymouth;  Garrett  Foster,  of  Weston's  men;  John  Margeson  and 
Philippe  de  la  Noye,  of  the  Plymouth  colonists;  Miriam  Chillingsley,  cousin 
to  the  captain;  Barbara  Standish,  wife  to  the  captain;  Resolute  Story,  aunt 
to  the  captain;  and  Rose  de  la  Noye.  Settings  required  are  the  kitchen  of 
Captain  Standish 's  house  and  the  dooryard  in  front  of  the  cottage.  Puritan 
costumes  are  required.  Royalty,  $10  for  each  performance. 

The  Scarecrow,  by  Percy  Mackaye.  Macmillan. 

About  The  Scarecrow,  Percy  Mackaye  says :  1 1  But  for  a  fantasy  of  Nathaniel 
Hawthorne,  this  play,  of  course,  would  never  have  been  written.  Yet,  it  would 
not  be  true  either  to  Hawthorne's  work  or  my  own,  to  classify  ‘The  Scare¬ 
crow'  as  a  dramatization  of  ‘ Feathertop. '  The  author's  own  literary  ability, 
his  own  dramatic  feeling  are  much  in  evidence  in  this  reworking  of  materials 
into  an  effective  play.  Players  required  are  six  women  and  ten  men,  as  fol¬ 
lows:  Justice  Gilead  Merton;  Goody  Rickby;  Lord  Rovensbane,  their  hypo¬ 
thetical  son ;  Dickson,  a  Yankee  improvisation  of  the  Prince  of  Darkness ; 
Darkness;  Rachel  Merton,  niece  of  the  justice;  Mistress  Cynthia  Merton, 
sister  of  the  Justice;  Richard  Talbot,  betrothed  to  Rachel;  Sir  Charles  Red- 
dington,  Lieutenant  Governor;  Mistress  Reddington  and  Amelia  Reddington, 
his  daughters;  Captain  Bugby,  the  Governor's  Secretary;  Minister  Dodge; 
Mistress  Dodge;  Rev.  Master  Rand  and  Rev.  Master  Todd,  both  of  Harvard 
College;  and  Micah,  a  servant  of  Justice.  The  sets  required,  a  blacksmith 
shop  and  a  Colonial  interior,  can  be  arranged  with  a  little  care  and  ingenuity. 
Colonial  costumes  are  required.  Application  for  right  of  performing  this  play 
should  be  made  to  Macmillan. 

The  Schoolmistress,  by  Arthur  Wing  Pinero.  Baker. 

This  is  an  English  farce  in  three  acts  in  which  interest  centers  in  the 
schemes  of  three  boarding  school  girls.  Nine  men  and  seven  women  are  the 
players.  They  are:  Miss  Dyatt,  principal  of  Volumnia  College  for  Daughters 
of  Gentlemen;  the  Hon.  Vere  Queckett,  her  husband;  Rear  Admiral  Archibald 
Ranklin,  C.  B.  and  Lieut.  John  Mallory,  both  of  H.  M.  Flag  Ship  “Pandora," 
Saunders,  of  the  Training  Ship  ‘  ‘  Dexterous ; ' '  Otto  Bernstein,  a  composer ; 
Reginald  Paulover ;  Mrs.  Rankling ;  Dinah ;  Gwendoline,  Ermyntrude  and 
Peggy  pupils;  and  Jane,  Tyler,  Goff  and  Jaffray,  servants.  The  settings  are 
easily  arranged  reception  room,  class  room,  and  living  room  for  three  acts 
which  are  sub-titled  ‘  ‘  The  Mystery, "  “  The  Party, ' '  and  ‘  ‘  Nightmare. ' ' 
Royalty,  $10  payable  to  Baker. 

Secret  Service,  by  William  Gillette.  French. 

This  is  an  exciting  romance  of  the  Southern  confederacy  and  Civil  War  days 


30  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


in  four  acts.  The  play  takes  place  during  an  evening  in  Richmond  at  a  time 
when  the  Northern  forces  were  entrenched  before  the  city  and  endeavoring 
by  all  possible  means  to  break  down  the  defenses  and  capture  the  Confederate 
capital.  The  scenes  of  the  acts  are  as  follows:  Act  I,  in  the  drawing  room 
at  Gen.  Varney’s  house  at  eight  o’clock;  Act  II,  in  the  same  place  at  nine 
o’clock;  Act  III,  in  a  war  department  telegraph  office  at  ten  o’clock;  and 
Act  IV,  in  the  drawing  room  of  the  Varney  home  again  at  eleven  o’clock. 
The  players  are  twelve  men  and  five  women.  The  following  are  the  principal 
parts:  General  Nelson  Randolph,  commanding  in  Richmond;  Mrs.  Varney, 
wife  of  a  confederate  general;  Edith  Varney,  her  daughter;  Wilfred  Varney, 
her  youngest  son ;  Caroline  Milford ;  Lewis  Dumont  of  the  United  States  Secret 
Service,  known  in  Richmond  as  Captain  Thorne;  Henry  Dumont,  brother  of 
Lewis  and  also  in  the  U.  S.  A.  Secret  Service;  Benton  Arrelsford,  of  the  Con¬ 
federate  Secret  Service;  Lieut.  Foray  and  Lieut.  Allison,  operators  of  the 
military  telegraph  lines;  and  other  officers  and  messengers.  Costumes  re¬ 
quired  are  those  of  the  period,  and  Union  and  Confederate  uniforms. 

She  Stoops  to  Conquer ,  by  Oliver  Goldsmith  (William  Warren  edition).  Baker. 

This  is  another  of  the  famous  old  comedies  which  merit  and  will  repay 
revival.  It  requires  twelve  men  and  four  women  as  actors  of  the  well-known 
parts:  Sir  Charles  Marlow,  Young  Marlow,  Squire  Hardcastle,  George  Hast¬ 
ings,  Tony  Lumpkin,  Diggory,  Roger,  Dick,  Thomas,  Stingo,  Slang  Jimmy, 
Mat  Muggins,  Tom  Twist,  Aminadab,  Mrs.  Hardcastle,  Kate  Hardcastle, 
Constance  Neville,  the  maid  and  barmaids,  pot-boys,  and  postillion.  Costumes 
for  the  play  of  the  period  of  1775  are  required  and  the  set  requires  care  and 
ingenuity,  but  the  returns  will  warrant  all  energy  expended  in  production. 

The  Taming  of  the  Shrew,  by  William  Shakespeare. 

The  Taming  of  the  Shrew  has  been  done  successfully  by  high  school  pupils. 
It  must  be  shortened  by  extensive  cuttings.  The  play  is  available  in  several 
acting  editions,  one,  the  William  Winter  edition  based  on  Edwin  Booth’s 
Prompt  Book  under  the  title  Katharine  and  Petruchio;  another  arrangement 
with  an  induction  and  three  acts  edited  for  the  use  of  high  schools  is  published 
by  Baker.  The  latter  arrangement  requires  thirteen  men  and  three  women 
if  a  number  of  parts  are  1  ‘doubled.”  Without  “doubling”  it  is  possible  to 
use  twenty-three  men  and  four  women  in  the  production.  The  play  can  be 
done  with  simple  settings.  Costumes,  of  course,  will  be  required.  An  interest¬ 
ing  account  of  a  production  of  The  Taming  of  the  Shrew  by  the  boys  of  St. 
Mark’s  School  at  Southborough,  Mass.,  is  to  be  found  in  The  Theatre  Magazine 
for  July,  1921. 

A  Thousand  Tears  Ago,  by  Percy  Mackaye.  Doubleday. 

This  is  a  fanciful  romance  of  the  Orient,  an  original  comedy.  The  elements 
of  its  plot  are  based  upon  the  old  Persian  tale  which  is  the  theme  of  the 
eighteenth  century  Italian  comedy  “Turnadotte”  by  Carlo  Gozzi.  The  play 
is  written  in  English  verse  to  be  spoken  but  the  major  appeal  of  the  play  is 
to  the  eye.  For  his  background,  the  author  “has  chosen  an  old  tale  of  the 
Arabian  Nights  which  is  hung  before  the  eye  as  a  fantastic  bit  of  oriental 
tapestry;  and  in  the  foreground  he  has  exhibited  in  silhouette  the  sharper 
colors  of  the  prancing  figures  of  his  group  of  Italian  comedians.”  When 
undertaken  by  a  director  of  some  experience  in  play  production,  who  has  at 
his  disposal  adequate  equipment,  the  play  can  be  made  unusually  attractive. 
It  is  included  here  because  it  offers  possibilities  for  such  a  director.  It  can 
be  done  admirably  on  a  draped  stage.  It  can,  however,  be  produced  under 
restricted  conditions.  A  suggestive  illustrated  account  of  the  production  of 
this  play  at  the  University  of  Minnesota  will  be  found  in  The  Theatre  Maga¬ 
zine  for  July,  1921.  The  play  is  in  four  acts  and  requires  nine  men,  two 
women  and  several  supers.  The  principal  parts  are:  Turnadot,  Princess  of 
Pekin;  Altoum,  her  father,  Emperor;  Zelim,  her  slave;  Calaf,  prince  of 


PLAYS  FOR  HIGH  SCHOOLS 


31 


Astrakhan;  Barak,  his  servitor;  Chang,  ennuch;  Scaramouche,  Punchinello, 
Pantaloon,  and  Harlequin,  vagabond  players  from  Italy;  and  Capocomico,  their 
leader.  The  scenes  are  outside  the  city  gate  at  Pekin,  in  the  great  hall  of 
the  emperor,  and  in  other  smaller  rooms  of  the  palace.  Permission  for  pro¬ 
duction  should  be  secured  from  the  author  at  Miami  University,  Oxford,  Ohio. 

Twelfth  Night,  by  William  Shakespeare. 

Twelfth  Night  is  one  of  the  most  popular  plays  with  school  and  college 
players.  Its  “ witty  dialogue,  shot  through  with  exquisite  poetry,’ ’  the  vigor 
of  its  characters  and  situations  make  it  unusually  happy  in  its  appeal.  Good 
acting  editions  are  available,  one  based  on  the  prompt-book  of  Julia  Marlowe 
can  be  secured  from  Baker.  A  new  prompt-book  with  a  “producer’s  preface” 
by  Granville  Barker  is  available  from  the  same  publisher.  Like  other  plays 
of  Shakespeare,  Twelfth  Night  may  be  produced  on  a  draped  stage  or  on  a 
stage  arranged  with  screens  in  a  somewhat  conventional  manner  to  represent 
a  Shakespeare  stage.  An  account  and  photographs  of  production  of  Twelfth 
Night  in  which  a  draped  stage  was  used  will  be  found  in  The  Drama  for 
October,  1919.  It  requires,  but  repays  careful  attention  to  costumes.  It  re¬ 
quires  eleven  men,  three  women,  and  several  attendants  as  players. 

The  Twig  of  Thorn,  by  Marie  Josenhine  Warren.  Baker. 

This  is  a  charming  play  of  Irish  fairy  lore  in  two  acts.  It  has  strong 
dramatic  interest  and  is  excellent  for  high  schools.  The  story  relates  how 
Onah  having  fallen  into>.thej*po*wer  of*  the  fairies  because  she  broke  the  first 
blossoms  from  the  rficrh*  trde,  is  -saved  by  Aileel,  a  wandering  poet.  Six  men 
and  seven  women  are  required  as  players  of  the  parts:  Nessa  Teig,  the  woman 
of  the  house;  Man?yav  her 'neighbor, -OAnah,  Tessa’s  granddaughter;  Aeugus 
Arann,  a  young  peasant ;  Aileel,  a  $det<  leather  Brian,  a  priest ;  a  fairy  child ; 
and  six  neighbors.  The  scene  is  laid  in  the  cottage  of  Nessa  Teig  in  the  year 
of  the  Great  Famine  and  is  'easily  arranged.  No  royalty  is  charged  for 
amateur  performances. 

What  Happened  to  Jones,  by  George  Broadhurst.  French. 

This  is  a  yoily  farce  in  three  acts,  with  comic  situations  arising  from  the 
presence  of  a  professor  at  a  prize  fight  and  a  traveling  salesman’s  assumption 
of  a  Bishop’s  garb.  The  players  are  seven  men  and  six  women.  One  interior 
set  serves  for  the  three  acts.  Of  no  literary  value. 

You  Never  Can  Tell,  by  Bernard  Shaw.  Brentano. 

The  bickerings  of  a  married  couple,  the  disrespect  of  children  for  their 
parents,  the  philosophy  of  a  talkative  waiter,  an  unusual  first  act  set  in  a 
dentist’s  office,  and  brilliant  and  graceful  handling  of  materials  make  this 
one  of  the  most  delightful  of  Shaw’s  comedies.  The  players  are  six  men  and 
four  women:  Valentine,  a  young  dentist;  Philip,  Dorothy  and  Gloria  Clandon 
and  Mrs.  Clandon;  Mr.  Crampton,  a  grumpy  father  separated  from  his  family; 
McComas,  an  attorney;  the  waiter  and  two  other  servants.  The  sets  required 
are  Act  I,  a  dentist’s  office;  Act  II,  a  terrace  at  a  hotel;  Acts  III  and  IV, 
a  sitting  room  in  the  hotel.  Royalty,  $25  to  French. 

COLLECTIONS  OF  PLAYS  FOR  THE  LIBRARY 

ONE-ACT  PLAYS 

Barrie,  James  M.,  Echoes  of  the  War.  Scribner. 

Contains  The  Old  Lady  Shows  Her  Medals,  The  New  Word,  a  Well  Be- 
membered  Voice,  Barbara’s  Wedding. 

Barrie,  James  M.,  Half  Hours.  Scribner. 

Contains  Pantaloon,  Bosalind,  The  Twelve  Pound  Look,  The  Will. 

Cohen,  Helen  Louise,  One- Act  Plays  by  Modern  Authors.  Harcourt. 
Contains  the  following  plays: 


32  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


The  Boy  Will ,  by  Robert  Emmons  Rogers; 

Beauty  and  the  Jacobin,  by  Booth  Tarkington; 

The  Pierrot  of  the  Minute,  by  Ernest  Dowson; 

The  Maker  of  Dreams,  by  Oliphant  Down; 

Gettysburg,  by  Percy  Mackaye; 

Wurzel-Flummery,  by  A.  A.  Milne; 

Maid  of  France,  by  Harold  Brighouse; 

Spreading  the  News,  by  Lady  Gregory; 

Welsh  Honeymoon,  by  Jeanette  Marks; 

Biders  to  the  Sea,  by  John  Millington  Synge; 

A  Night  at  an  Inn,  by  Lord  Dunsany; 

The  Twilight  Saint,  by  Stark  Young; 

The  Masque  of  the  Two  Strangers,  by  Lady  Alix  Egerton; 

The  Intruder,  by  Maurice  Maeterlinck; 

Fortune  and  Men’s  Eyes,  by  Josephine  Preston  Peabody; 

The  Little  Man,  by  John  Galsworthy. 

Dunsany,  Lord,  Five  Plays.  Kennerly. 

Contains  The  Gods  of  the  Mountain,  The  Golden  Doom,  King  Argimenes 
and  the  Unknown  Warrior,  The  Glittering  Gate,  The  Lost  Silk  Hat. 

Dunsany,  Lord,  Plays  of  Gods  and  Men.  Luce. 

Contains  The  Tents  of  the  Arabs,  The  Laughter  of  the  Gods,  The  Queen’s 
Enemies,  A  Night  at  an  Inn. 

Gregory,  Lady  Augusta,  New  Comedies.  Putnam. 

Contains  The  Bogie  Men,  The  Full  Mobn,  Coats,  Darner’s  Gold,  McDonough’s 
Wife.  "  *•  * 

Gregory,  Lady  Augusta,  Seven  Sh(,rtt  Plays.  Luce. 

Contains  Spreading  the  News,  Hyacinth  Ifahey,  The  Bising  of  the  Moon, 
The  Jackdaw,  The  Workhouse  Ward,  The  Traveling  Man,  The  Gaol  Gate. 
Houghton,  Stanley  G.,  Five  One-Act  Plays*'  French. 

Contains  The  Dear  Departed,  Fancy  Free,  The  Fifth  * Commandment ,  The 
Master  of  the  House,  Phipps. 

Mackaye,  Percy,  Yankee  Fantasies.  Duffield.  ’  v 

Contains  Chuck,  Gettysburg,  The  Antick,  The  Cat-Boat,  Sam  Average. 

Mayorga,  Margaret  Gardner,  Bepresentative  One-Act  Plays  by  American 
Authors.  Little. 

Contains  the  following  plays: 

Sam  Average,  by  Percy  Mackaye; 

Six  Who  Pass  While  the  Lentils  Boil,  by  Stuart  Walker; 

Voices,  by  Hortense  Flexner; 

The  Merry  Merry  Cuckoo,  by  Jeanette  Marks; 

Sintram  of  Skagerrak,  by  Sada  Cowan; 

Will  o’  the  Wisp,  by  Doris  F.  Halman; 

Beyond,  by  Alice  Gerstenberg; 

A  Good  Woman,  by  George  Middleton; 

Funiculi  Funicula,  by  Rita  Wellman; 

Hunger,  by  Eugene  Pillot; 

In  the  Zone,  by  Eugene  G.  O’Neill; 

The  Brink  of  Silence,  by  Esther  E.  Gailbraith; 

Allison’s  Lad,  by  Beulah  Marie  Dix; 

Mrs.  Pat  and  the  Law,  by  Mary  Aldis; 

Lima  Beans,  by  Alfred  Kreymborg; 

The  Wonder  Hat,  by  Ben  Hecht  and  Kenneth  Sawyer  Goodman; 

Suppressed  Desires,  by  George  Cram  Cook  and  Susan  Glaspell; 

Where,  But  in  America,  by  Oscar  M.  Wolff; 

A  Question  of  Morality,  by  Percival  Wilde; 

Martha’s  Mourning,  by  Phoebe  Hoffman; 


PLAYS  FOR  HIGH  SCHOOL 


33 


Hyland ,  by  T.  W.  Stevens  and  K.  S.  Goodman; 

The  Last  Straw,  by  Bosworth  Crocker; 

Hattie,  by  Elva  De  Pue; 

Dregs,  by  Frances  Pemberton  Spencer. 

Shay,  Frank  and  Loving,  Pierre,  Fifty  Contemporary  One- Act  Plays . 
Stewart. 

Contains  the  following  plays: 

Austria — 

Madonna  Dianora,  by  Hugo  von  Hofmannsthal; 

Literature,  by  Arthur  Schnitzler; 

Belgium — 

The  Intruder,  by  Maurice  Maeterlinck; 

Bolivia — 

Interlude,  by  Fredrico  More; 

France — 

M.  Lamblin,  by  George  Ancey; 

Francoise’s  Luck,  by  Georges  Porto-Riche; 

Germany — 

Altruism,  by  Karl  Ettinger; 

The  Tenor,  by  Frank  Wedekind; 

Great  Britain — 

A  Good  Woman,  by  Arnold  Bennett; 

The  Little  Stone  House,  by  George  Colderon; 

Mary’s  Wedding,  by  Gilbert  Cannan; 

The  Pierrot  of  the  Minute,  by  Ernest  Dowson; 

The  Subjection  of  Kezia,  by  Mrs.  Havelock  Ellis; 

The  Constant  Lover,  by  St.  John  Hankin; 

India — 

The  Judgment  of  Indra,  by  Dhan  Gopal  Mukerji; 

Ireland — 

The  Workhouse  Ward,  by  Lady  Gregory; 

Holland — 

Louise,  by  J.  H.  Speenhoff; 

Hungary — 

The  Grandmother,  by  Lajos  Biro; 

Italy — 

The  Fights  of  the  Soul,  by  Giuseppe  Giacosa; 

Russia — 

Love  of  One’s  Neighbor,  by  Leonid  Andreyev; 

The  Boor,  by  Anton  Tchekoff; 

Spain — 

His  Widow’s  Husband,  by  Jacinto  Benevente; 

A  Sunny  Morning,  The  Quinteros; 

Sweden — 

The  Creditor,  by  August  Strindberg; 

Autumn  Fires,  by  Gustave  Wied; 

United  States — 

Brothers,  by  Lewis  Beach; 

In  the  Morgue,  by  Sada  Cowan; 

A  Death  in  Fever  Flat,  by  George  W.  Cronyn; 

The  Slave  with  Two  Faces,  by  Mary  Carolyn  Davies  ; 

The  Slump,  by  Frederick  L.  Day; 

Mansions,  by  Hildegarde  Flanner; 

Trifles,  by  Susan  Glaspell; 

The  Pot  Boiler,  by  Alice  Gerstenberg; 

Enter  the  Hero,  by  Theresa  Helburn; 

The  shepherd  in  the  Distance,  by  Holland  Hudson; 


34  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


Boccoccio’s  Untold  Tale ,  by  Harry  Kemp; 

Another  Way  Out,  by  Lawrence  Langner; 

Ario  da  Capo,  by  Edna  St.  Vincent  Millay; 

Helena’s  Husband,  by  Phillip  Moeller; 

The  Shadowed  Star,  by  Mary  Macmillan; 
lie,  by  Eugene  O'Neill; 

The  Nursery  Maid  of  Heaven,  by  T.  W.  Stevens; 

Three  Travelers  Watch  a  Sunrise,  by  Wallace  Stevens; 

Sham,  by  Frank  G.  Tompkins; 

The  Medicine  Show,  by  Stuart  Walker; 

For  All  Time,  by  Rita  Wellman; 

The  Finger  of  God,  by  Percival  Wilde; 

Yiddish— 

Night,  by  Solomon  Ash; 

Forgotten  Souls,  by  David  Pinski. 

Smith,  Alice  M.,  Short  Plays  by  Bepresentative  Authors.  Macmillan. 

Contains  the  following  plays: 

The  Hraun  Farm,  by  Johann  Sigurjonsson; 

The  Merry  Merry  Cuckoo,  by  Jeanette  Marks; 

The  Locked  Chest,  by  John  Masefield; 

The  Post  Office,  by  Rabindranath  Tagore; 

Six  Who  Pass  While  the  Lentils  Boil,  by  Stuart  Walker; 

The  Silver  Lining,  by  Constance  d '  Arcy  Mackay ; 

By  Ourselves,  by  Ludwig  Fulda; 

The  Bider  of  Dreams,  by  Ridgley  Torrence; 

Spreading  the  News,  by  Lady  Augusta  Gregory; 

The  Swan  Song,  by  Anton  Tchekoff; 

The  Man  on  the  Kerb,  by  Alfred  Sutro; 

The  Shadowed  Star,  by  Mary  MacMillan. 

Walker,  Stuart,  Portmanteau  Plays.  Stewart. 

Contains  The  Trimplet,  Nevertheless,  The  Medicine  Show,  The  Six  Who  Pass 
While  the  Lentils  Boil. 

LONG  PLAYS 

Yeats,  William  Butler,  The  Hour  Glass.  Macmillan. 

Contains  The  Hour  Glass,  Cathleen  ni  Houlihan,  A  Pot  of  Broth. 

Baker,  George  P.,  Modern  American  Plays.  Harcourt. 

Contains  the  following  plays: 

As  a  Man  Thinks,  by  Augustus  Thomas; 

The  Beturn  of  Peter  Grimm,  by  David  Belasco ; 

Bomance,  by  Edward  Sheldon; 

The  Unchastened  Woman,  by  L.  K.  Anspacher; 

Plots  and  Playwrights,  by  Edward  Massey. 

Eliot,  Samuel  A.,  Jr.,  Little  Theatre  Classics  (Three  Volumes).  Little. 
Contains  the  following  classics  adapted  for  production  in  Little  Theatres: 
Volume  1: 

Polyxena; 

A  Christmas  Miracle-Play ; 

Doctor  Faustus; 

Bicardo  and  Viola; 

The  Scheming  Lieutenant. 

Volume  2: 

Patelm  from  Maitre  Pierre  Pathelin,  by  Guillaume  Alecis; 

Abraham  and  Isaac  from  the  Book  of  Brome  and  the  Chester  Cycle  of  Miracles; 
The  Loathed  Lover  from  The  Changeling  of  Middleton  and  Rowley; 
Sganarelle  or  Imaginary  Horns  from  Moliere. 

Volume  3: 


PLAYS  FOR  HIGH  SCHOOL 


35 


Bushido,  by  Izumo ; 

Old  Wife’s  Tale,  by  Peele; 

Pericles; 

The  Duchess  of  Pavy,  adapted  from  Ford's  Love’s  Sacrifice. 

Moses,  Montrose  J.,  Representative  British  Dramas.  Victorian  and  Modern. 
Little. 

Contains  the  following  plays: 

Virginvus,  by  James  Sheridan  Knowles; 

Black-Ey’d  Susan,  by  Douglas  Jerrold; 

Richelieu,  by  Sir  Edward  Bulwer-Lytton ; 

London  Assurance,  by  Dion  Bouccicault; 

A  Blot  in  the  ‘Scutcheon,  by  Robert  Browning; 

The  Ticket-o f -Leave  Man,  by  Tom  Taylor; 

Caste,  by  T.  W.  Robertson; 

E.  M.  S.  Pinafore,  by  W.  S.  Gilbert; 

Becket,  by  Alfred  Tennyson; 

The  Masqueraders,  by  Henry  Arthur  Jones; 

The  Importance  of  Being  Earnest,  by  Oscar  Wilde; 

The  Gay  Lord  Quex,  by  Arthur  Wing  Pinero; 

The  Silver  Box,  by  John  Galsworthy; 

The  Cassilis  Engagement ,  by  St.  John  Hankin; 

The  Madras  House,  by  H.  Granville  Barker; 

The  Tragedy  of  Pompey  the  Great,  by  John  Masefield; 

Cathleen  Ni  Houlihan,  by  William  Butler  Yeats; 

The  Workhouse  Ward,  by  Lady  Augusta  Gregory; 

Riders  to  the  Sea,  by  John  M.  Synge  ; 

Thomas  Muskerry,  by  Padraic  Colum; 

The  Gods  of  the  Mountain,  by  Lord  Dunsany. 

Quinn,  Arthur  Hobson,  Representative  American  Plays.  Century. 

Contains  the  following  plays: 

The  Prince  of  Partliia,  by  Thomas  Godfrey; 

The  Contrast,  by  Royall  Tyler; 

Andre,  by  William  Dunlap; 

Superstition,  by  James  Nelson  Barker; 

Charles  the  Second,  by  John  Howard  Payne  and  Washington  Irving; 

The  Triumph  at  Plattsburgh,  by  Richard  Penn  Smith; 

Pocahontas  or  the  Settlers  of  Virginia,  by  George  W.  P.  Curtis; 

The  Broker  of  Bogota,  by  Robert  Montgomery  Bird; 

Tortesa  the  Usurer,  by  Nathaniel  Parker  Willis; 

Fashion,  by  Anna  C.  M.  Ritchie; 

Francesca  da  Rimini,  by  George  Henry  Boker; 

Lenora  or  the  World’s  Own,  by  Julia  Ward  Howe; 

The  Octoroon  or  Life  in  Louisiana,  by  Dion  Boucicault; 

Rip  Van  Winkle,  as  played  by  Joseph  Jefferson; 

Hazel  Kirke,  by  Steele  Mackaye; 

Shenandoah,  by  Bronson  Howard; 

Secret  Service,  by  William  Gillette; 

Madame  Butterfly,  by  David  Belasco  and  John  Luther  Long; 

Her  Great  Match,  by  Clyde  Fitch; 

The  New  York  Idea,  by  Langdon  Mitchell; 

The  Witching  Hour,  by  Augustus  Thomas ; 

The  Faith  Healer,  by  William  Vaughn  Moody; 

The  Scarecrow,  by  Percy  Mackaye; 

The  Boss,  by  Edward  Sheldon; 

He  and  She,  by  Rachel  Crothers. 


36  UNIVERSITY  OF  IOWA  EXTENSION  BULLETIN 


PUBLISHERS  AND  AGENTS 

Key  Address 

American — American  Book  Company,  100  Washington  Square,  New  York  City. 
American  Flay — American  Play  Company,  33  West  42d  St.,  New  York  City. 
Baker — Walter  H.  Baker  and  Co.,  5  Hamilton  Place,  Boston,  Mass. 

Boni — Boni  and  Liveright,  106  West  40th  St.,  New  York  City. 

Brentano — Brentano’s,  Fifth  Av.  and  27th  St.,  New  York  City. 

Century — The  Century  Company,  353  Fourth  Av.,  New  York  City. 

Dodd — Dodd,  Mead  and  Co.,  Fourth  Av.  and  30th  St.,  New  York  City. 

Doran — George  H.  Doran  Co.,  224  Madison  Av.,  New  York. 

Doubleday — Doubleday,  Page  and  Co.,  Garden  City,  N.  Y. 

The  Drama — The  Drama,  59  East  Van  Buren  St.,  Chicago,  Ill. 

Dramatic  Pub.  Co. — Dramatic  Publishing  Co.,  542  S.  Dearborn  St.,  Chicago,  Ill. 
Duflield — Duffield  and  Company,  211  East  19th  St.,  New  York  City. 

Dutton — E.  P.  Dutton  and  Company,  681  Fifth  Av.,  New  York  City. 

47  Workshop — 47  Workshop,  Harvard  University,  Cambridge,  Mass. 

French — Samuel  French,  28-30  West  38th  St.,  New  York  City. 

Harcourt — Harcourt,  Brace  and  Co.,  New  York  City. 

Harper — Harper  and  Brothers,  Franklin  Square,  New  York  City. 

Holt — Henry  Holt  and  Co.,  19  West  44th  St.,  New  York  City. 

Houghton — Houghton  Mifflin  Company,  4  Park  St.,  Boston,  Mass. 

Huebsch — B.  W.  Huebsch,  116  West  13th  St.,  New  York  City. 

Eauser — Alice  Kauser,  1402  Broadway,  New  York  City. 

Kennerly — Mitchell  Kennerly,  Park  Av.  and  59th  St.,  New  York  City. 

Lane — John  Lane  Co.,  New  York  City. 

Little — Little  Brown  and  Co.,  34  Beacon  St.,  Boston,  Mass. 

Luce — John  W.  Luce  and  Company,  212  Summer  St.,  Boston,  Mass. 

Macmillan — The  Macmillan  Company,  66  Fifth  Av.,  New  York  City. 

Penn — Penn  Publishing  Company,  925  Filbert  St.,  Philadelphia,  Pa. 

Putnam — G.  P.  Putnam’s  Sons,  2  West  45th  St.,  New  York. 

Band — Rand,  McNally  and  Company,  Rand  McNally  Bldg.,  Chicago,  Ill. 
Sanger — Sanger  and  Jordan,  1432  Broadway,  New  York  City. 

Scott — Scott  Foresman  and  Co.,  623  South  Wabash  Av.,  Chicago,  Ill. 

Scribner — Charles  Scribner’s  Sons,  597  Fifth  Av.,  New  York  City. 

Stewart — Stewart  and  Kidd  Co.,  121  East  Fifth  Av.,  Cincinnati,  Ohio. 
Stokes— Frederick  A.  Stokes  Company,  443  Fourth  Av.,  New  York  City. 
Swartout — Norman  Lee  Swartout,  28  Blackburn  Road,  Summit,  New  Jersey. 
Theatre  Arts — Theatre  Arts,  Inc.,  7  East  42d  St.,  New  York  City. 

Walker — Stuart  Walker,  304  Carnegie  Hall,  New  York  City. 

Washington  Sq. — Washington  Square  Book  Shop,  17  West  8th  St.,  New  York 
City. 

Witmark — M.  Witmark  and  Sons,  86  Witmark  Bldg.,  New  York  City. 

COSTUME  HOUSES 

Cameron  Costume  Co.,  Inc.,  29  West  Randolph  St.,  Chicago,  Ill. 

Chicago  Costume  Works,  Inc.,  116-120  North  Franklin  St.,  Chicago,  III. 

Joseph  C.  Fisher,  255  South  9th  St.,  Philadelphia,  Pa. 

Fritz  Schoultz  and  Co.,  58  West  Lake  St.,  Chicago,  Ill. 

New  York  Costume  Co.,  137  North  Wabash  Av.,  Chicago,  Ill. 

Robert  Schmidt,  206  and  208  South  4th  St.,  St.  Louis,  Mo. 

Schmidt  Costume  and  Wig  Shop,  920  Clark  St.,  cor.  Locust  St.,  Chicago,  Ill. 
Van  Horn  and  Son,  921  Walnut  St.,  Philadelphia,  Pa. 

Waas  and  Son,  226  North  Eighth  St.,  Philadelphia,  Pa. 


EXTENSION  BULLETINS  (continued  from  second  page  of  cover) 


51.  The  study  of  Americanization 

52.  Iowa  Patriotic  League ,  plans  for  1919-1920 

53.  Iowa  sprlling  scale,  for  grades  II,  III  and  IV 

54.  Iowa  spelling  scale,  for  grades  TV,  V  and  VI 

55.  Iowa  spelling  scale,  for  grades  VI,  VII  and  VIII 
*56.  Suggestions  to  teachers  of  French  and  Spanish 

57.  Diet  for  the  school  child 

*58.  Fourteenth  annual  announcement  of  the  Iowa  High  School  Debating  League 

59.  Physical  growth  of  the  school  child 

60.  Great  charters  of  Americanism 
*61.  Income  tax  problems 

62.  Character  in  newspapers 
*63.  Answers  to  income  tax  questions 

64.  Answers  to  income  tax  questions 

65.  Feeding  the  baby 

66.  Outlines  for  the  study  of  great  American  problems 

67.  Service  in  public  health  education 

68.  Minimum  essentials  of  English  composition 

69.  School  finance  in  Iowa  cities 

70.  The  school  lunch 

*71.  Fifteenth  annual  announcement  of  the  Iowa  High  School  Debating  League 

72.  Income  tax  and  business  efficiency  papers 

73.  Correspondence  course  (1921) 

74.  Iowa  high  school  public  speaking  contests 

75.  Eow  to  measure  the  merit  of  an  advertisement 

76.  Parent  and  teacher 

77.  Measure  your  school 

78.  Plays  for  high  schools  * 


THE  STATE 

UNIVERSITY  OF  IOWA 

IOWA  CITY,  IOWA 


The  University  embraces  the  following: 

Graduate  College 
College  op  Liberal  Arts 
College  of  Law 
College  of  Medicine 
College  of  Dentistry 
College  of  Pharmacy 
College  of  Applied  Science 
College  of  Education 
College  of  Commerce 

School  of  Music 

School  of  Nursing 

School  of  Public  Health  Nursing 

Child  Welfare  Research  Station 

Summer  Session,  including 

The  Lakeside  Laboratory  at  Okoboji 
The  School  for  Library  Training 

Extension  Division,  including 
Correspondence  Courses 

Correspondence  is  invited.  For  catalogues, 
illustrated  bulletins,  and  other  information, 
address : 


The  Registrar, 

Iowa  City,  Iowa 


iversity 


